PS 63 5 



3-w * \/? t 




COPYRIGHT, 1889, BY HAROLD ROORBACH 



S&OOtbadb'S full Descripttbc ^atalOQUe of Dramas, Comedies, Comediettas, Farces, 
Tableaux-vivants, Guide-books, Novel Entertainments for Church, School and Parlor 
Exhibitions, etc., containing complete and explicit information, will be sent to any address 
on receipt of a stamp for return postage. Address as above. 



ROORBACH'S AMERICAN EDITION. 



PRICE, 15 CENTS EACH. 

This series embraces the best of plays, suited to tbe present time The reprints have 
been rigidly compared with the original acting copies, so that absolute purity of 
text and stage business is warranted. Each play is furnished with an introductioii 
of the greatest value to the stage manager, containing the argument or synopsis of 
incidents, complete lists of properties and costumes, diagrams of the stage settings 
and practicable scene-plots, with the fullest stage direction-. They are hand- 
somely printed from new electrotype plates, in readable type, on fine paper. 
Their complete introductions, textual accuracy, and mechanical excellence render 
these books far superior in every respect to all editions of acting plays hitherto 
published. 

1. ALL THAT GLITTERS IS NQT GOLD. A comic drama in two acts. Six 

male, three female characters. Time, two hours. 

2. A SCRAP OF PAPER. A comic drama in three acts. Six male, six female 

characters. Time, two hours. 

3. MY LORD IN LIVERY. A farce in one act. Five male, three female charac- 

ters. Time, fifty minutes. 

4. CABMAN No. 93. A farce in one act. Two male, two female characters. 

Time, lorly minutes. 

5. MILKY WHITE. A domestic drama in two acts. Four male, two fem.de char- 

acters. Time, one hour and three quarters. 

6. PARTNERS FOR LIFE. A comedy in three acts. Seven male, four female 

characters. Time, two hours. 

7. WOODCOCK'S LITTLE GAME. A comedy-farce in two acts. Four male, 

four female characters. Time, one hour. 

8. HOW TO TAME YOUR MOTHER-IN-LAW. A farce in one act. Four 

male, two female characters. Time, thirty-five minutes. 

9. LADY AUDLEY'S SECRET. A drama in two acts. Four male, three female 

characters. Time, one hour and a quarter. 

10. NOT SO BAD AFTER ALL. A comedy in three acts. Six male, five female 
characters. Time, one hour and forty minutes. 

11. WHICH IS WHICH ? A comedietta in one act. Three male, three female 
characters. Time, fifty minutes. 

12. ICI ON PARLE FRANCAIS. A farce in one act. Three male, four female 
characters. Time, forty-five minutes. 

13. DAISY FARM. A drama in four acts. Ten male, four female characters. 
Time, two hours and twenty minutes. 

14. MARRIED LIFE. A comedy in three acts. Five male, five female characters. 
Time, two hours. 

15. A PRETTY PIECE OF BUSINESS. A comedietta in one act. Two male, 
three female characters. Time, fifty minutes. 

16. LEND ME FIVE SHILLINGS. A farce in one act. Five male, two female 
characters. Time, one hour. 

17. UNCLE TOM'S CABIN.— Original Version. A drama in six acts. Fifteen 
male, seven female characters. Time, three hours. 

18. UNCLE TOM'S CABIN.— New Version. A drama in five acts. Seven 
male, five female characters. Time, two hours and a quarter. 

19. LONDON ASSURANCE. A comedy in five acts. Ten male, three female 
characters. Time, two hours and three quarters. 

SO. ATCHI ! A comedietta in one act. Three male, two female characters. Time, 
forty minutes. 

21. WHO IS WHO ? A farce in one act. Three male, two female characters. 
Time, forty minutes. 

22. THE WOVEN WEB. A drama in four acts. Seven male, three female char- 
acters. Time, two hours and twenty minutes. 

23. MISS MADCAP. A comedietta in one act. Two male, one female characters. 
Time, twenty minutes. 

24. THE DARKEY WOOD DEALER. A farce in one act. Two male, one fe- 
male characters. Time, twenty minutes. 

(OVER.) 



TRIED AND TRUE 



A DRAMA IN THREE ACTS 



/ 



3Y 

FURLONG 



Printed from the Author's Manuscript, with the Cast 
of the Characters, Synopsis of Incidents, Time of 
Representation, Description of the Costumes, 
Scene and Property Plots, Diagrams of the 
Stage Settings, Sides of Entrance and 
Exit, Relative Positions of the Per- 
formers, Explanation of the Stage 
Directions, etc., and all of 
the Stage Business. 



Copyright, 1890, by Harold Roorbach. 




zsirity 



¥ 



NEW YORK 

HAROLD ROORBACH 

PUBLISHER 



Ws. 




TRIED AND TRUE. 



CAST OF CHARACTERS. 



_, _, ,. „ , (A Young Sailor in search 

Robert Bruce, alias Stumpy Joe, . . . . < f his Sister. 

.. „ , f A New York Boot-black, 

Muggins, alias Truthful James, . . . . | From Hohokus> M G% 

Elliot Greythorne, The " Vampire." 

James Jackson, j m$ Coadjutors. 

Snaky Jim, / 

Geo. Washington Pollux, Of the " Red Light" Saloon. 

Old Bruce, Good hearted, but weak. 

Policeman, Useful and ornamental. 

Lillian Bruce, Robert's sister. 

Belinda Jane Montrose, A Flower girl. 

Kate, The forsaken. 



Time of Playing. — Two Hours and Fifteen Minutes. 



SYNOPSIS OF INCIDENTS. 

Act I. — At the " Red Light " saloon. — One of nature's (colored) noble- 
men. — Muggins strikes a reg'lar gold mine. — The Vampire's plot — A 
weak minded old man. — A game of bluff. — " You are the thief, and I will 
prove it ! " — Belinda Jane in search of her sweetheart. — A division of 
spoils. — Robert Bruce on the track. — " Dat gal takes de oysters." — Lil- 
lian's misfortune. — The compact of friends. — The Vampire defied. — Grey- 
thorne wins another trick in the game. — " When Muggins goes back on 
you, look for him in de cemetery ! " 



TMPS6-C06411 



TRIED AND TRUE. 3 

Act. II — The Vampire's rendezvous. — Kate, the unfortunate. — Truthful 
James of Hohokus, N. G., makes a few observations. — " Stumpy Joe," 
the new pard. — In the Vampire's toils. — " Now, Elliot Greythorne, we 
will balance accounts." — The underground cell. — The winning hand. — 
Lillian's despair and Kate's story. — The Vampire's ultimatum.— " Trust 
me, and we will baffle this villain yet." — Muggins proves to be the right 
bower. — " Oh, how I wish I could swaller myself ! " — Snaky Jim's little 
game. — A struggle for liberty and life. — Recognition. — Tableau. 

Act III. — Once more on familiar ground. — " Dat missus ob mine, she's 
a dandy, she is." — Old Bruce in a new dress. — Belinda's good fortune. — 
Robert and Lillian. — " Christmas, it's Belinda ! " — A horrible tail. — I've 
brought home scalps enough to cover a hair trunk." — Belinda and Mug- 
gins compare notes. — The Vampire at his old game. — Greythorne's last 
chance. — " Dat's right, bust de whole business!" — Muggins comes up 
smiling. — " If he proves as true to you as he has been to us, you will have 
no cause to complain." — The Vampire again. — Kate's history — Father 
and son. — " You've been dancin' de devil's hornpipe for a long time, and 
now de ole gent is going to pass round de hat." — The Vampire's pal pulls 
a trigger. — Greythorne's game is up. — Strange disclosures. — Righting a 
wrong. — A happy reunion. — Tried and True. 



PROPERTIES. 

Act I. — Scene 1. — Table and three chairs at R. 2 e. Chinese lanterns 
across stage in 3c, and about stage. Drinks off L. 2 e. Money for 
Jackson and Greythorne. Razor, tray, cigar and matches for Pollux. 
Locket for old Bruce. Knife for Greythorne. Pistol for Robert. Pack 
of cards concealed in Greythorne's waistcoat. Scene j. — Furniture as 
per scene-plot. Writing materials, book and lighted candle on table in L. 
room. Candle on table in r. room. Placard, " Muggins Esq." on back 
of door r. f. Newspaper and matches for Muggins. Handkerchief, 
slung shot and letter for Greythorne. Loaf of bread, a ham, two 
plates and a broken plate, knives and two tumblers in cupboard. 

Act II. — Pack of cards. Lunch, bottle and glasses on tray, off L. 2 E. 
Old telescope in carpet-bag, for Truthful. Knife and shovel for 
Robert. Knife on table. Knife, pistol and whistle for Greythorne. 
Pistol and stiletto for Kate. Gag and pickaxe for Muggins. Gags and 
cards for Snaky Jim and Jackson. Knife, pistol, locket (same as that 
usedin Act I.), and small box containing jewelry, for Snaky Jim. Whistle 
off stage. Furniture as per scene-plot. 

Act III. — Furniture as per scene-plot. Basket, with turkey and let- 
tuce, for Pollux. Mail-bag and packet of letters for Bruce. White patch 
and dog's tail for Muggins. Slung-shot and knife for Greythorne. Locket 
in Jackson's pocket. Club and document for Policeman. Bell to ring 
off L. 3 e. Feather duster. Books, etc., on table. Ring in case for 
Muggins. Card for Pollux to bring on. Pistol (loaded) for Jackson. 
Locket for Greythorne. 



4 TRIED AND TRUE. 

COSTUMES. 

Robert Bruce. — Act I ; Sailor's suit. Act 21; disguised as " Stumpy 
Joe," seedy suit of clothes, sandy whiskers. Walks lame. Act 111; 
Neat suit, with black cutaway or Prince Albert coat. 

Greythorne. — Stylishly dressed, with change for each act. Clothes not 
exactly in good taste, but rather " loud." 

Muggins. — Act 1 ; Dressed as a bootblack — very seedy and eccentric. 
Act II ; Disguised as " Truthful James " — Farmer's ordinary costume. 
Act III ; Very flashy attire, high collar, bright colored necktie and high 
hat. 

Jackson. — Old black suit, Prince Albert coat, slouch hat, full beard. 

Snaky Jim. — Old suit of every day clothes. 

Old Bruce. — Act 1 ; Old suit of dark clothes, grey and straggling wig 
and beard. Act III ; Letter-carrier's uniform, hair and beard neat. 

Pollux. — Act I ; Waiter's jacket and apron, Act III; neat cutaway 
suit. 

Policeman. — Uniform, club and shield. 

Lillian. — Acts I and II ; Plain dark attire. Act 111 ; neat walking 
suit. 

Kate. — Act II; Plain dark attire. Act III ; neat dark walking suit. 

Belinda. — Act 1 ; Bright light suit, with white apron, collar and cuffs. 
Carries flower basket. Act III; Very stylish attire. 



STAGE SETTINGS. 



Act I, Scene I. 



Garden Backing 



A Gate 



Fence Fence 



••• 



i Table & Chairs 



TRIED AND TRUE. 
Act I, Scene j. 




Corridor Backing 
Door l ■ i i Door * 



I I # Dt 

Table & Chairs 



I 

oor 



Table IChatr 




Act II. 



Corridor Backing 

-\Door h 



/■ • a • m ToT m \ 

1 Boxes ^Barrels 1 

Door Boor- 

/••• ••• \ 



-Tabled Chairs Tabk&Chairs 



Act III — 6*^«^ 2. 



Window and Street Backing 



-I, Door *- 



^ £&** 0*4- ^ 



Table £ Chairs 



V 



6 TRIED AND TRUE. 

SCENE PLOT. 

Act I. 

Scene I. — Garden in 5 G. ; foliage wings. Cottage or set piece l. 2 e., 
representing a door leading to the interior of the saloon. Balustrade run- 
ning across the stage in 3 G., with opening C. Chinese lanterns swinging 
across, from R. to L., in 3 G., and hanging from other available parts of the 
scene.' Table and 3 chairs (R., L.,.and back of it) at R. 2 e. Lights full 

U P' 

Scene 2. — Street in 1 g. 

Scene 3. — A double plain chamber boxed in 4 g., backed with corridor 

in 5 G. Partition C, running back to the fiat. Door in partition. Doors 

r. F. and L. F., opening upon corridor. Table and chair R. in L. room. 

Bed l. in l. room. In R. room, a table C with chairs r. and L. of it ; 

closet up R. 

Act II. 

Cellar or plain chamber boxed in 3 c. Corridor backing in 4 g. Door 
in flat, L. Doors r. 2 E. and l. 2 e. Old tables and chairs L. c. and R. 
Cot bed up c. Several empty barrels and packing boxes up R., to hide 
behind. 

Act III. 

Scene i. — Street in I G. Door in fiat. 

Scene 2. — Parlor in 3 g. backed with window backing which shows a 
street beyond. Doors c. in flat, r. 3 e, and l. 3 E. Sofa l. c. Table 
and two chairs R. c Chairs up stage. Carpet down. 

STAGE DIRECTIONS. 

In observing, the player is supposed to face the audience. R. means 
right; L., left; C, centre; R. c, right of centre ; L. c, left of centre ; D. 
F., door in the flat or back scene; R. F., right side of the flat; L. F., left 
side of the flat; R. D., right door; L. D., left door; c. D., centre door; I 
E., first entrance ; 2E., second entrance ; U. E., upper entrance ; I, 2 or 3 
g., first, second or third grooves ; Up Stage, toward the back.; Down 
Stage, toward the foot-lights. 

R. R. C. C. L. C. L. 




TRIED AND TRUE 



ACT I. 

Scene i. — Garden— full stage — exterior of the " Red Light" saloon 
— lights full up — at rise of curtain Pollux is discovered busying 
himself about the stage — Jackson is seated at table, R. — lively 
music for curtain. 

Jackson. Here, Coffee! 

Pollux. Coffee? [to Jackson) 'Scuse me, are you distressing 
your conversation to me, sah ? 

Jackson. You don't suppose I'm talking to myself, do you? 
Bring me a beer and be quick about it. 

Pollux. All right, sah ! Beer it is. {goes to door of house, calls 
out " One beer ! " and goes in at once and brings it out) 

Jackson, (after Pollux's exit) Stylish nigger that! I wonder 
what keeps Greythorne ? 

Pollux, (speaks on entering) Hyar you is, sah. Ten cents if 
you please. 

Jackson. What for? 

Pollux. Five for the beer, and five for the waitah. 

Jackson, (hands money) Never mind the waiter. Bring me five 
cents change. 

Pollux. 'Scuse me, sah, but dere's no change to come. 

Jackson. No change! You thieving black (grabbing hold 

^/"Pollux to force money from him) 

Pollux. Hold on, boss! If you're going to raise such a fuss 
about five cents I'll give you a nickel. 

Jackson. What ! do you mean to insult me ? 

Pollux. No, sah? 'Scuse me. Never insult customers inten- 
tionally, sah. I's too much of a gen'l'man, fordat — 'deed lis. G. 
W. Pollux ob de " Red Light " is one ob nature's noblemen — you 
hyar me ! I's a brack diamond, I is ! And de ladies dat know me 
call me de " dusky Appoller! " 

Policeman. ( puts head out from behind house, taps on side of house 
with club to attract Pollux's attention, beckons him over to him and 
whispers in his ear) 



8 TRIED AND TRUE. 

Pollux. All right, sah. {goes to door, calls out) One beer for a 
sick gent outside, and he says be sure and make it a schooner. 
{glass of beer handed out of door — to Policeman, wko is not seen, 
but takes glass from Pollux) Don't forget to bring back de glass, 
will yer? {pause, glass returned empty) How is de sick gent now, 
sah ? {as if to Policeman behind house) Better, eh ! Glad ob dat ! 
{looking at Jackson — to audience) ' Dere's de fellow dat called me 
Coffee. Now, to get square on him. {to Jackson, who has gone 
up, during scene between Pollux and Policeman, as if expecting 
Greythorne) Say, my friend, 'scuse me, but your visits todis 'stab- 
lishment am getting to be too close apart. An' as dar am an ordi- 
nance in dis ward dat all de tenants must place dere garbage on 
de sidewalk, I's fresh orders from de mayor dat if you don't 
vacate de premises immejitly, or sooner, dat I's to remove you in 
sections. 

Jackson. Why, you infernal 

Pollux. No back talk, {quickly catches Jackson by seat of trous- 
ers and back of neck and runs him off upper entrance, where he butts 
Muggins, who is fust entering, in the stomach-MuGGiNS falls, jumps 
up and kicks Jackson, who utters a howl and exits — Pollux walk- 
ing up and down proudly) Dat's de time I got eben wid his lord- 
ship, and if dat fellar comes in hyar agin' I'll sweep his brains up 
in a shovel, {pulls razor from pocket and cuts hair) 

Muggins. Say, look here Mahogany, what kind of a reception 
do yer call that for to give a young feller as comes in for to patron- 
ise de bar — say ? 

Pollux. 'Scuse me, sah, 'scuse me, sah ! Did I hurt yer? 

Mug. Hurt, me ! Who was that ragbag anyhow ? 

Pollux, (l.) Why hallo, Muggins, is that you? 

Mug. (R.) It's my remains! Did you see that snoozer butt me 
in de stomach when I come into de door ? Oh! He's knocked 
my supper plum out of focus ! But I got square on him. De next 
time he tackles me he'll have de rearpart of his trowserloons lined 
with sheet iron. But say, George Wash., what are you goin' to 
have? Ask all your friends inside up. It's my treat. 

Pollux, {goes to door and calls off) Everybody take a drink on 
Muggins ! 

Omnes. {inside) Hurrah, for Muggins ! 

Pollux. Why Muggins, what's up! 

Mug. Why, de greatest racket in de world. I'm in luck ! Struck 
a reg'lar gold mine ! 

Pollux. Tell us about it. [sits, R.) 

Mug. (c. of stage) Well, I was down by the Hoboken Ferry 
looking for a job, and I was a running over my part in my head 
— you know i'm an actor now — yes! sir! In de Grand Duke 
Theatre. Well, I was running over my part in de new drammy 
what we're agoin' to put on next week, «» Dropped in de Sewer, or 



TRIED AND TRUE. 9 

de Swim for Life," and I'd just got to de lines — "Den Opodildoc 
said unto Plum Duff ' strike ! ' " — when somebody struck me on 
de side of de ear wid a bad apple. Oh ! Dat's de wust earful I 
ever got in my life. I ain't heard a thing wid dat ear since ! I 
looked across de street and dere was wooden legged Jimmy a 
jumpin* up and down and yellin' like an idjiot ! " Hallo, Mug- 
gins! " says he. "Hi, Jimmy!" says I. "Come quick, Mug- 
gins," says he, " dey's a human bein' in mortial agony." " I'm 
with you, Jimmy," says I ; and off he run and me after him into de 
Hoboken ferry house, and say, George, dere was about a hundred 
people standin* round seein' a man drownin'! " Muggins," says 
dey, " you're just the feller. Jump in and save him." " Why don't 
yer jump in yourself ?" says I. "Oh! W^V spoil our clothes," says 
dey. " Well," say's I, " my clothes ain't de best in de world, but 
if my coat was made of gold and my pants was diamond studs, I 
couldn't stand by and see a poor man drown. Hold my coat 
Jimmy," says I, and in I went. Well, George, I pulled him out; he 
was a poor old cove nigh on to sixty years old, and when I got him 
out ov de water he couldn't speak, so dey took him away in an 
ambulance ! And I was sneakin' out of the ferry for to get away 
from de crowd, when dere was a sailor chap come along and 
grabbed me by de hand and say's he, "my boy, you're a brave 
lad and I hope to see you again ! " And away he went ! And 
say, George, I opened my hand and dere, as big as life, was a ten 
dollar note. Oh, George, dat feller had a heart as big as a barn- 
door ! 

Pollux. Well, Muggins, you're a brick ! [rising) 

Mug. And my father was a bricklayer. But say, I must be 
goin'. Dat gal of mine is a waitin' for me. I promised to take 
her to de theatre to-night, Erastus ! 

Pollux. 'Scuse me, Mr. Muggins, dat's not de appelation given 
me by my progenitors. 

Mug. [faints on Pollux) Oh, knock me endless! [to audience) 
He's swallered a dictionary! Say, if you're a talkin' tome (j shoot 
lower down, 'cause I don't comprehend your slapsus slinky as we 
say in Hong Kong ! 

Pollux. I say my name is not Erastus. My name is George 
Washington Pollux, Esq., as you know. 

Muggins. George Washington Pollux, Esq. Say, are you any 
relation to de hatchet man ov de same name ? 

Pollux. Have a cigar, Muggins, and stop foolin' wid dis colored 
gen'l'man. 

Muggins, [trying to light cigar) Say, what kind ob a cigar is dis ? 
«* Colorado Spec? " 

Pollux. No, sah, dat's a seed Havana, dat is. 

Muggins. Go way ! What are you givin' me — wind ? Dat 
never seed Havana. 



IO TRIED AND TRUE. 

Pollux. Muggins, sing us a song — the one you sung at the 
Grand Duke's last night. 

Muggins. All right, I will oblige, {song can be introdnced, or reci- 
tation, aft or which Greythorne enters, C.) 

Mug. {sees Greythorne c.) Hallo, boss ! Say, what are you 
going to have ? It's my treat to-night ! 

Greythorne. I don't drink with ragamuffins ! 

Mug. Oh, knock me endless! Did you hear dat? {to Pollux) 
Don't drink with ragamuffins — My eye, ain't he tuff! 

Grey, {aside) This fellow's evidently a favorite with the people 
here ! I'll have to humor him. {to Mug.) Well I don't mind if I 
do drink with you — waiter, bring me a port wine negus ! 

Mug. I guess not, you're too late — de shop is closed and de 
shutters is up. Say, if you want any port wine niggers around here 
you'll pay for 'em yourself — I've got no money to throw away on 
a travelling clothesrack like you ! 

Grey, {threateningly) What's that? 

Mug. {tips hat a la Mose) Travelling clothesrack, dat's what I 
said ! Say, George Wash., get on to that nose ; if it ever struck in 
t' would kill him, sure. (Pollux laughs) Well, good-by Wash. — dat 
daisy of mine is a waitin' for me ; I've been away two hours and 
she'll think I've sloped wid some other gal ! If I don't see you 
again, " par de coo ! " — " Den Opodildoc said unto Plum Duff — 
Git! " Exit Muggins, c. 

Grey, {seated at table, R.; clock strikes ten, off~R. I e.) Jackson 
should have been here long ago ! I wonder if he will be able to 
induce the old man to come ! If I can only fix it to have the flim- 
sies put on him, I can then manage the daughter ! She will not 
consent to marry me, ha ! ha ! She shall be forced to it ! Once 
the old man is settled, I can easily manage her! But where the 
devil can Jackson be? I'm getting anxious ! Here, waiter, {to 
Pollux) make me a hot rum ! 

Jackson enters Cgoes to Greythorne — Pollux starts for drink, 

pauses, exchanges looks with Jackson, and waits for other order 

— then exits for drinks. 

Grey, {to Jackson) Well, what news? 

Jackson. He'll be here ! I've fixed it all right. 

Grey. Good! Have something? 

Jackson. I don't mind ! Mix me up a hot scotch {to waiter) see ! 
{Pointing to Greythorne) 

Pollux. Yes, I see. His nose looks like Clepatrix needle ! (exit 
into house for drinks) 

Grey. Jim, I want you to do the planting of the dust as soon as 
you get a chance. And while he's at the cards you cry out that 
you have been robbed. A search will follow, the money will be 
found on the old man, and that will cook him for a while at least. 
You understand? 



TRIED AND TRUE. II 

Pollux, (entering) Here you is, gemmen ! [brings drinks; biz; 
Grey pays for drinks) 

Jackson. Yes, yes ! I understand perfectly ! But my money is 
sure when the job is done ? 

Enter Old Bruce, C. ; very shaky. 

Bruce, (aside) What if I should lose to-night! (fakes locket from 
pocket) This necklace ! I took it from my daughter Lillian as she 
lay sleeping, that I might try my luck at the cards once more. If 
I win to-night, I'll never play again — never! — I cannot lose, no 
no, I cannot lose — ah my darling child, it is all for you — all for 
you. 

Grey. Ah Bruce ! So you're here at last, are you ? Well, what 
will you have ? 

Bruce. I want something strong — something to steady my nerves 
— give me some brandy ! 

(Pollux goes l., and returns with brandy) 

Grey, (sees locket) Why Bruce, what's that? 

Bruce. It is my daughter's locket. I want to raise money on it ! 
I must have it, and there was no other way ! 

Grey. Go into the bar ; they will advance you something on 
it! 

Bruce. Yes, you're right, thanks ! thanks ! (goes into house) 

Grey. How much of the stuff have you with you ? 

Jackson. About a hundred dollars. 

Grey. All right. Are any of the boys here to-night ? 

Jackson. None. 

Grey. Here comes Bruce. Now, then, be sure of your game ! 

Jackson. Ah, you leave that to me. 

Bruce, (entering from house, speaking) It's no use. They'll not 
advance me a penny. They won't run any risk, they say. 

Grey, (seated at R. of table) Well, old man, I'll loan you twenty- 
five dollars on it. 

Bruce. Thanks, thanks ! 

Grey. I suppose you want to get square on me for last night's 
work? (gives Bruce money) Here you are — ten — five — ten — 
twenty-five. 

Bruce. (/# Pollux) Bring the cards, quick ! (handing locket to 
Greythorne) 

Pollux. Here am depicture book, (handing cards to Greythorne; 
they sit at table ; Grey, r., Bruce l., Jack, c.) 

Bruce, (aside, seated l., of table) I must surely win to-night— I 
feel I shall win ! — and then Lillian, my darling child, I swear off 
forever ! (Jackson goes round table and puts money in Bruce' s 
pocket — music pp. , till end of scene) 

Grey, (dealing cards) Come, Bruce. Cut for deal, (biz) My 
deal! (biz) Play! (play) I'll bet you two on this hand! (lays 
money) 



12 TRIED AND TRUE. 

Bruce. I call you ! {covers money) 

Grey. Two of a kind ! 

Bruce. I beat you ! [shows hand, takes money) 

Enter Robert Bruce, c. ; goes to table where players are, and 
watches game — they play and bet high. 

Grey. I see you that five and go you ten better. 

Bruce, [nervously, aside) I cannot lose — no, no, with this hand it 
is impossible ! I'll see your ten and make it fifteen better ! 

Grey. What! you're getting reckless, Bruce. Well, confound 
it, I can't stand out in the cold — I think old man you're giving me 
a bluff! 

Robert, [who has been watching game back of table) Excuse me 
for intruding, but don't you think you're giving this poor old man 
a bluff? 

Grey. You attend to your own affairs. Here, I see the fifteen 
and go you twenty-five better. 

Bruce. I've only twenty left. 

Grey. Well, I see you twenty then ! [lays money) 

Bruce, [very nervously) I call you ! 

Grey. I've got just four little kings ! 

Bruce. I have lost ! lost ! [head falls on table — Grey reaches 
hand to take money when Robert siiddenly places hand over pile in 
a defiant manner) 

Robert. Stop ! Would you wrong a poor old man like this ? 
You know you've been cheating. (Grey springs up hastily) Cheat- 
ing! Perhaps it's the last dollar he has in the world! Shame 
upon you ! 

Grey. Do you know what it is to deal with a man of my stamp ? 
It is death ! 

Robert. Death, you coward ! Yes it is death — sure death to 
those like this old man, those who cannot defend themselves! 
[snatches cards frotn Grey's vest) See, how you would wrong this 
poor old man ! 

Grey. You shall pay for this ! [starting up) 

Robert. At any time, or place, convenient to yourself, [takes 
money from table) Here, sir. [about to hand money to Bruce, who 
raises head and looks at Robert) What, father, you here ? Can 
this be possible ! (Jackson goes down R. of Grey.) 

Bruce, [surprised) Robert! my son ! [biz) 

Grey, [aside to Jackson) Give the word now, quick! 

Jackson. I have been robbed ! robbed ! 

All. Robbed! [general confusion) 

Enter Policeman, l. 

Jackson. Yes, robbed ! Of all my money ! 
Robert. Come father, let us leave this place ! 



TRIED AND TRUE. 1 3 

Grey. Stay ! Stay at least until that man — the one you are so 
proud of — be searched. 

Jackson. Yes, search him. [starts to do so) 

Robert, [defiantly) Stand back ! He is my father ; and the first 
that dares to lay so much as a finger on him, must answer to me 
with his life ! If he must be searched / will search him ! 

[searches) 

Grey, [aside) Now for a surprise. 

Robert, [finds money) Father, what does this mean? 

Grey. It means that your father is a thief! 

Robert. You lie ! Father, speak ! Say that this charge against 
you is false. 

Bruce. I am innocent, Robert. I swear it. 

Robert. I believe it, father, and will prove it, with the help of 
Heaven. 

Grey. What do you mean ? 

Robert. I mean that this is your work ! (Greythorne pulls 
knife, and starts for Robert — Robert, draws pistol and holds him 
at bay — Policeman" puis his hand on Bruce s shoulder, as if to 
arrest him — Pollux at door of saloon looking on, and Jackson look- 
ing on triumphantly — quick curiam. 

Positions. 

Bruce. Policeman. 

Robert. Jackson. 

Grey. Pollux. 

Scene 2. — Street in 1st Groove. 

Enter Belinda, l. i e. 

Belinda. Goodness, gracious ! Here it is after eleven o'clock. I 
wonder where Muggins can be ! I've spent the whole blessed 
evening round here looking for him. He said he'd be at the house 
at seven o'clock and take me to the theatre, and here I've 
neglected my business and haven't sold a bouquet to night. Ah, 
he's like all the rest of the boys — you can't believe a word they 
say ! Exit r., runs into Muggins. 

Mug. Hello Belinda, is that you ? 

Bel. [very curtly) Yes, it's me ! 

Mug. I'm glad to hear it ! 

Bel. You're a nice young man ! 

Mug. Of course I am. I can't help being handsome, I was born 
that way. I can't walk along the street in safety. 

Bel. I don't doubt it. Oh, you villain ! 

Mug. I ain't no villain. 



14 TRIED AND TRUE. 

Bel. What are you ? 

Mug. Mamma's boy. 

Bel. Mamma's boy ! You must be a back number. I've been 
hunting after you this whole blessed evening. 

Mug. Go way, you don't say so ! Say, I've been tryin' to 
knock a hole through the door of that Mulberry street mansion of 
yours for the last two hours. 

Bel. Thought you was goin' to take me to the theatre to-night ? 

Mug. Well, so I was, but you wasn't in. 

Bel. No, I went out to look for you ! 

Mug. Did you find me ? 

Bel. Why, of course I didn't? 

Mug. No, I s'pose I must have got out of sight just before you 
saw me ! But say, Belinda, where are you going to-morrow 
night ? 

Bel. Nowhere, why ? 

Mug. Why, 'cause I want you to go to a hop wid me. 

Bel. A hop ! Oh isn't that lovely ! Where is it, Mug ? 

Mug. Hardly able hall ! It's Jim Donavart's sore ear and it's a 
comin' off to-morrow night. 

Bel. Jim Donavan's what? 

Mug. Jim Donavan's sore ear — s-o-u-r-e-r-e — sore ear ! 

Bel. Oh that isn't sore ear ; it's French, Mug, it's swarry ! 

Mug. Is it? I thought 'twas sore ear ; well, my early edification 
has been somewhat overlooked ! But say, will you go ? 

Bel. Will I go ! Well you bet I will. 

Mug. Belinda, all the rustycats ob de city is a goin' to be dere, 
and you and I have got to sing for them. So what do you say we 
rehearse our song now? 

Bel. As the Bowery boy says — " I am wid ye." {song intro- 
duced; exeunt) 

Enter Greythorne with Jackson, after song. 

Grey. Well, the old man is out of the way — for the present at 
least — and very cleverly we did it. 

Jackson. I'm glad you're satisfied ; and now I've done my part, 
it only remains for you to do yours. 

Grey. What do you mean ? 

Jackson. Why, the money. You promised to pay me as soon as 
the job was finished. 

Grey. Yes, yes, so I did. Well, it's too late to take you to my 
house to-night. Come to-morrow at twelve o'clock and we will 
settle. 

Jackson. Twelve o'clock. I'll be there, never fear. I need the 
money too much to stay away. Exit, R. IE, 

Grey, {looking after him) And you will find an empty cage. 
Everything goes swimmingly. The old man is out of the way, 



TRIED AND TRUE. 



>5 



now for the girl. Confound that young sailor ! He calls the old 
man his father; then Lillian must be his sister. Well, if he gives 
me any trouble, I'll soon fix him. Ha, ha, ha! I should like to 
see Jackson's face to-morrow when he calls for that money at 
twelve o'clock. Ha, ha, ha ! Exit, R. 1 e. 

Enter Robert, l. i e. 

Robert. Where can he have gone ? I tracked him as far as the 
square below, but there lost sight of him ! He cannot escape me, 
for I will seek no rest until I have hunted him down and proved 
my father's innocence. Some one is coming this way. Why, its 
the chap I saw at the ferry this morning. 

Enter MUGGINS backward, looking off m. 1 E. 

Mug. Dat gal takes de oysters ! She's de kind ob a gal to fight 
injins for! "Den Opodildoc said unto Plum Duff, strike!" 
(Robert comes down and strikes him on the shoulder) Hey ! Why, 
hallo boss, is dat you ? 

Robert. Good evening, my lad ! Talking to yourself? 

Mug. No, sir, I was rehearsing a part! I'm an actor sir, in de 
Grand Juke Theatre, and we're going to play a new piece. Come 
up and see it. The theatre isn't elegant, but it suits de patrons. 
I'm de leading man. 

Robert, [laughing) Yes ? How large a salary do you draw ? 
{looking at Muggins' clothes) 

Mug. Oh, we don't have no salaries ; we work de common- 
wealth racket — share and share alike ! Poor biz last week. My 
share for de week was six cents, and consequentially de wardrobe 
has to suffer! But say, boss, I want to thank you for all dat 
money what you gave me to-day ! 

Robert. Never mind thanking me ; you deserved it, my lad, and 
much more. But tell me, did you see a man pass here just now — 
dressed — [explains Grey's dress) 

Mug. No, but I saw a feller got up in dat style of toggery up in 
de " Red Light " dis evening. I know him well ! 

Robert. You do ! Tell me, what's his name? 

Mug. Well, I can't say as I ever axed him dat, boss ; but I know 
where he lives when he's home ! He's de leader of a tough 
crowd — I've heard some say he's a counterfeiter. 
■ Robert. Good ! Can you take me there ? 

Mug. Why, cert ! But it's too late to go dere to-night ! Besides, 
we'll have to go disguised. 

Robert. All right. But where can I find you in the morning? 

Mug. I'll come to your hotel, sir, wid de disguises. Where do 
you put up? 

Robert. I arrived in port this morning, and had intended sleep- 
ing aboard to-night. 



1 6 TRIED AND TRUE. 

Mug. Where does your vessel lay ? 

Robert. On the other side of the river. 

Mug. Well, say Cap, you can't go way over dere to-night. 
Lookee here ! You can come and put up with me if yer like. 
'Tisn't much of a place, but you're welcome ! 

Robert, [takes Mug.'s hand) My lad, I like your face. It looks 
like an honest one. 

Mug. I hope so sir, cause it's all I've got. 

Robert. I've a sister here somewhere in New York, and am 
anxious to find her. I had no time, to talk to my father, as they 
hurried him off to jail, and they will not let me see him till after 
his examination before the magistrate. 

Mug. Is he in limbo ? 

Robert. Yes, arrested this very night, and by some scheme of 
this villain. 

Mug. How so? 

Robert. He induced my poor father to play cards, and by cheat- 
ing, won his last dollar. I happened into the place and saw it all ! 
Not satisfied with cheating, he accused him of stealing money and 
had him arrested. While I was attending my father, this fiend 
made his escape. So I will go with you. Where do you live ? 

Mug. Oh 'tain't far; only two blocks. Come along. You 
couldn't miss de house, cause my name is on de door in big letters 
chalked up wid a blacking brush ! Exeunt R. I e. 

Scene 3. — Double apartment — very poor — Lillian discovered in 
room L., writing at table, by candle light — lights half down. 

Lillian. There! I have just finished writing a letter to dear 
brother Robert, stating that he will find us here, as we have 
changed our lodgings since his last was sent. Ah, how delighted 
I shall be to see him safe at home again ! Home ! Can I call this 
home ? (sighs) Well, perhaps we shall not always be so poor ! But 
where can father be? It must be after eleven o'clock. Oh, how 
terribly he has changed of late ! Drink! drink! What a curse 
you are! It was so different when Robert was home. Dear 
Robert, where are you to-night ? (sighs) This Mr. Greythorne, 
what a bitter curse he has been to us ! The trouble in the bank, 
father's discharge ! It broke poor mother's heart. Dear mother ! 
Why, where is my locket? (feels for it) It is gone! Who could 
have taken it? Father? No, no, surely he would not. And yet 
he may have taken it for money to gamble with. I will go out and 
see if he can be found. ( putting on things) 

Enter Muggins and Robert, room R. 

Mug. Here we are, boss, dis is de place ; small but convenient. 
I don't like a big room, 'cause I'm apt to lose myself in some of 
de corners, (lights candle) 



TRIED AND TRUE. 1 7 

Lillian. How long will this misery last and when will it end ? 

Exit, door in fiat. 

Mug. Did you see my name on de door? [opens door, Lillian 
passes) 

Robert, [reads) Muggins Esq. So that's your name? 

Mug. Yes, dat's my nom de plummy as de newspaper fellers 
say ! 

Robert. What's your christian name ? 

Mug. My what? 

Robert. Why, your first name ! 

Mug. Muggins. That's the first name I ever had. 

Robert. Oh, your first name's Muggins is it ? Well, what is 
your surname — (Muggins scratching head), your last name — eh? 

Mug. Oh, my last name ? Muggins ! 

Robt. Muggins can't be your first and last name too. 

Mug. Yes it is. Muggins is de first, last and only name I ever 
had! 

Robt. Impossible ! What was your father's name? 

Mug. Never had none, leastwise so far as I know ! 

Robt. But your mother, surely you had a mother! 

Mug. Oh, no I didn't ! I'll tell you boss ; I reckon I'm a kind 
of a puzzle. I never had no father nor mother ; and how I got 
into dis world is a mist'ry. De fust home I remember was an old 
box down by de Washington market ; but say boss, what's your 
name ? 

Robt. My name is Robert Bruce, but my friends call me Bob ! 

Mug. Well, I'm only a poor bootblack ; but I should like to call 
you Bob ! 

Robt. You mean you want to be my friend? [takes hand) Well, 
from what I've seen of you, I've an idea that I've fpund a friend 
that I ought to be proud of. 

Mug. Lord, Bob! I'm getting hungry. I forgot all about it! 
Let's see what's the bill of fare, [goes to cupboard at back) Ha! 
look here ! [brings out bread and ham and two plates) Now then, to 
spread de banquet ! Ah, we must have a table cover. What's 
dis? [takes newspaper from pocket) Der New York World. Dis 
will do fust class ! Dese table covers won't stand washing, but 
the beauty of de ting is you can have a new one every meal, [tears 
off corner) Here Bot>? 

Bob. What's this for? 

Mug. Dat's your snapkin ! Oh, hold on, I forgot de plates. 
Here you are. Two on 'em. I might almost say three [shows 
broken plate); dat's for de children! Mounseer, squat-a-voo ! 
[they sit) Place de electric light in de centre of de table, [puts 
candle in middle of table) Christmas! I forgot de glasses, (gets 
them) Ah ! Dis is toney, isn't it ! Bob, what'll you have to drink? 



1 8 TRIED AND TRUE. 

Anything you like now. De firm is wealthy ! Say, Bob, dis is a 
wonderful meal ! 

Bob. How so, Muggins? 

Mug. Because we have delicacies from all parts ov de world. 

Robt. Oh, the newspaper. Very clever! Who's living in the 
next room, Muggins? 

Mug. A young lady, Bob, and a reg'lar out and outer she is 
too! She lives there with her old father; and say, it's my pri- 
vate opinion that if ever dere was such a thing as an angel on dis 
earth, she's one on 'em. Why, sometimes she meets me in de 
hallway goin' up or down stairs, and de way she says "good 
mornin'." — Oh lord ! Why my heart thumps agin' my ribs like a 
forty-horse power engine. 

Robt. She's your sweetheart, I suppose, eh? 

Mug. What, she? Bless you, why she wouldn't wipe her old 
shoes on the likes of me, I should think not. My daisy lives in 
Mulberry street, and she's de queen of de ward too, chalk it down ! 
But de angel in de next room, she s a lady, she is ! 

Robt, You're very enthusiastic, Muggins ; I should like to see 
her. What's her name? 

Mug. Christmas, Bob ! I never axed her. It's all I can do to 
say good day, and den I nearly go through de hole in de stairs! 

Enter Lillian, d. f. l. 

Lillian. I have searched everywhere and can get no trace of 
him ! Where can he have gone ? Heaven grant that no harm 
has befallen him! [knock at door, l.) Ah! There he is now! 
{goes to door and opens //—Enter Greythorne) Mr. Greythorne ! 
{chord) 

Grey. You* will pardon this abrupt intrusion, and the untimely 
hour of my visit ; but a message of* the utmost importance com- 
pelled me to seek you at once ! 

Lillian. Speak sir, what do you mean ! 

Grey. Your father is 

Lillian. My father — speak ; what of him ? 

Grey. Your father is {pause) 

Lillian. Dead ! {screams and faints in Grey's arms) 

Robt. Say, Muggins. What was that ! 

Mug. It sounds like de angel in de next room ! 

Grey. I will let her think him dead. Confound it ! She has 
fainted in my arms ! 

Robt. All's quiet again. What can it mean ? 

Mug. Mum's de word, Bob ; perhaps we may hear it again. 

Grey. How beautiful she looks ! By jove, it almost unmans 
me ! Confound it, I'm acting like a child ! (Lillian revives) Be 
calm, Miss Bruce ! 



TRIED AND TRUE. 1 9 

Lillian. How can I be calm! My father dead, and I left here 
alone ! Oh Robert, my brother, where are you to-night ! [sobbing) 

Grey. Miss Bruce — Lillian ! Listen to me ; you have always 
treated me as your enemy. I swear to you that I am now here as 
a friend ! Lillian, I love you. Be my wife ! 

Lillian. Would you add to my misery by asking me to become 
your wife ? Hear me out, Elliott Greythorne ; rather would I beg 
my bread from door to door than marry you ! 

Grey. What ! You defy me, do you ! 

Lillian. Defy you, yes ! Leave this house, and never show your 
face to me again, (music pp. hurried till curtain, then forte) 

Grey. You'll not yield to my entreaties, hey? Then I must use 
force, for I'm bound to have you if I swing for it ! (he seizes her — 
they struggle — Lillian cries for help) 

Robt. It sounds like a woman calling for help. Muggins, I'm 
going to see what the trouble is. Exit Robert, d. r. f. 

Mug. Go ahead, Bob, and if dere's a scrimmage, count me in ! 

Grey. Voices in the next room; ah, the light ! (puts out light) 
Now to silence you, my beauty, (takes handkerchief from pocket, 
and in doing so, drops letter on floor; puts handkerchief over Lil- 
lian's mouth) Now to get away from here! (as he ?-e aches door, 
L. F., Robert enters) 

Robt. Hold ! Who are you ? What was that cry ? 

Grey. Out of my way, you fool ! (hits Robert on head with 
slung shot and exit with Lillian, d. l. f.) 

Robt. (staggering to chair) That voice ! Surely I have heard it 
before. Yes, I remember ; it was at the saloon ! It is the very 
man I am looking for. It is so dark I cannot see. The door (try- 
ing door) is locked. The wretch has escaped me. Muggins, 
where are you ? 

Mug. (knocking on door in partition) Say, Bob, open de door! 

Robt. It is locked ! 

Muggins, (at door) The door is locked and the willain bolted. 
Hold on a minute, Bob. (takes large knife from table) Dis key will 
open de door. Don't make a noise, for if de landlady hears us, 
she'll come up wid a shotgun, (forces door open and enters L. 
room) What's de matter, Bob, are you hurt? 

Robt. No, it's nothing. A slight hurt, that's all. He clipped 
me on the head. 

Muggins. Say, Bob, dat gal was an angel. See, here's her 
prayer-book. 

Robert, (takes book, looks at fly-leaf) Great Heavens! Mug- 
gins, it is my sister's, (staggers) My father arrested; my sister 
abducted ! I see it all ! This is more of that villain's work ! Now 
I understand why he had my father arrested — to get him out of 
the way, to commit this outrage. But I will foil him yet. Now to 
find this Elliot Greythorne ! Will you help me, Muggins ? 



20 TRIED AND TRUE. 

Muggins. You said I was your friend, Bob, and when Muggins 
goes back on you look for him in de cemetery. 

Robert, {taking Muggins' hand) We will hunt him down 
together, and when we meet face to face, I swear to be avenged 
for the wrongs he has done me. 

CURTAIN. 



ACT II. 



Scene. — Cellar or plain chamber — the sce?ie represents a dive — two 
or three persons can be discovered playing cards, etc. — Snaky Jim 
and Jackson discovered. 

Snaky Jim. Wall pards, this same fellow were not many leagues 
away from here when I run agin him. Wall, he bowed and 
scraped like a French dancing-master, axed about the weather 
and all that, till we got acquainted like ; so I axed him where he 
were going, and he said he were bound for no place in 'tickler ; 
and as he seemed to be of the right sort, why I axed him down 
here to become one of us ! So Jackson, if he should drap in when 
I ain't 'round, use him purty ! He calls himself Stumpy Joe ! 

Jackson. We'll use him the best as we know how ; won't we, 
pards ? 

Omnes. Ay, that we will. 

Snaky, (at door in flat looking off R. ) Hallo ! Here's Kate ! Sh ! 

Enter Kate, door in flat L. 

Kate, (to Jim) Where is the Vampire ? Has he returned yet? 

Snaky. No, miss, he ain't turned up yet ! We're expecting him 
every minute. He sent word that he'd be here to-day. He has a 
girl with him. 

Kate. Girl! What girl ? 

Snaky. Why, the one he went after. 

Kate. Oh ! He has her with him has he ? (aside) He shall not 
have her long if I can prevent it. (to Jim) When he comes, let me 
know ; I wish to speak with him. Do you hear? 

Snaky. Yes, miss ! 

Kate. I wish to see him on business. Exit Kate, door R. 

Snaky. May I be chawed up, but that woman's a tartar ! Them 
eyes ov hern go through yer like a streak of lightnin'. I wouldn't 
be in the Vampire's place and have a leach like that a hangin' to 
me for a fortin' ! 



TRIED AND TRUE, 21 

Jackson. Nor I ! She'll send him into kingdom come some of 
these fine days. She hates him vvuss nor the devil himself! 

(Truthful James heard ofh.) 

Truthful. {ofL.\ Halloa! 

Snaky, {going to door) Hallo! Boys, thar's a strange voice; 
there's somebody comin' this way. 

Truth, {still off) Hallo, there ! 

Snaky. Let's see what he looks like ! Halloa ! Who the devil 
are you ? 

Enter Truthful, door l. 

Truth. Wall, a friend I reckon, Square, so far as I know ! I'm 
registered in the family Bible as James Doolittle, but everybody to 
hum calls me Truthful James. 

Snaky, {down R. c.) Wall come down here James, till we have a 
look at ye. {he comes down) Whar do ye hail from ? 

Truth, {down C.) Wall, I'm originally from Hohokus, N. G. ; 
but I've been a wanderin' 'round this 'ere place till I conjure 
'twould puzzle human natur' in general and myself in particular 
to tell whar I vote from at the present writin'. 

Jackson, (l., turning him round) Wall, a queer old party you are, 
Truthful. What are you lookin* arter? 

Truth. Wall, at the present moment I'm lookin' arter most any- 
thing in the shape of fodder firstly, and a rascally nephy of mine 
as left his home and run off down here to the city, gol darn his 
skin, in the second place ! 

Snaky. Wall stranger, you've a face on you as looks like ther 
wasn't much pizen in it ; give us your fist. 

Truth. Pizen ! Wall, I reckon not ! But say, Square, speakin' 
ov pizen, you ain't got a drop ov gin nowhere about your clothes, 
I spose ? 

Snaky. Plenty on it ! 

Truth. Dew tell ! Wall, now look here Square, I'll make a 
trade with ye ! I'm reckoned the greatest singer and story teller 
in the country whar I belong. Now you boys are fond ov a song 
I 'spose ! 

Jackson. Yes ! A song ! Out with it ! 

Truth. Now I'll sing you a song and you shall fill up my bottle 
and gimme a snack of lunch ; what do ye say ? Is it a trade ? 

Jackson. Shake, stranger, it's a go! I'll git the provender while 
you're a singin' your ditty ! 

Exit Jackson, who returns with lunch which he sets on table, l. c. 

Truth. Yer see boys, this pesky nephy of mine ran away from 
home nigh onto ten years ago ; and we ain't heerd a word on him 
till here about a month ago, when he writ a letter home to my old 



22 TRIED AND TRUE. 

woman sayin' he were here in New York a scoopin' out a fortin'. 

Snaky. And you're here a lookin' for him, hey ? 

Truth. Bull's eye the first time, by gosh ! You've struck it 
Square, presactly ! Ye see, crops to hum hev been pretty good 
this season, so my old 'oman, Nabby, she kinder conjured I'd 
better come here and try to find him about a little matter ov money 
as was left him by his Uncle Zebidee. Wall, I ruther liked the 
idee myself 'cause I could see him, and mebbe find a customer for 
my patent rotary pump handle at the same time — here, lemme 
show this pump handle, [takes from satchel an old telescope which 
he is about to display) 

Jackson. Never mind the pump handle ; what's his name ? 

Truth. Patent rotary pump handle. Works without a sucker. 

Jackson. Hang your pump handle ! What's your nevvy's 
name ? 

Truth. Oh! I thought you were a speakin' of my pump handle. 
His name when he left home, were Bijah Doolittle ; what it is now 
I can't presume to say ! 

Jackson, (to Snaky) Did ye ever hear of Bijah Doolittle in these 
parts ? 

Snaky. Never. 

Truth. Jes* so. I didn't s'pose ye had ! I've travelled nigh 
on to thirty hours round this place an' I hain't struck nobody what's 
hearn tell on him yit ! 'Twouldn't surprise me if he has got himself 
in trouble. Howsomdever, I've 'bout made up my mind to give 
up the sarch and make tracks for Hohokus, N. G. 

Snaky. Hohokus, N. G! Say, truthful, what's N. G. for? 

Truth. Whar did you go tu school, Square ? N. G. stands for 
New Jarsey, accordin' to my 'rithmetic ; and the Lord willing, I'll 
make tracks for there at the earliest possible time. 

Jackson. Wall, Truthful, the boys are waitin' for that song. 

Truthful. A little more of that pizen, and I will oblige, (drinks; 
song ifitroduced) 

Snaky, (after song) Wall, that war a good one! Arter that we 
must have a drink,' sure ! You won't shirk the critter? 

Truth. When I do, call the parson, for there's a funeral about 
to be held ! [whistle heard off stage) 

Snaky, (going to door in flat) Ha! what's that? (at door) See, 
it's Stumpy Joe, the new paid ! 

Enter Stumpy Joe, door in flat ; he conies down c. 

Snaky. So you found your way, did ye ? Wall, you're right wel- 
come. Shake ! (Joe shakes hands with him) 

Joe. I'm much obliged for the welcome, boys, and hope to 
prove, by my actions, that I am worthy of your confidence. I'm 
not as strong as I might be, but after I have an hour's rest and a 



TRIED AND TRUE. * 23 

little to eat and drink, you will find me fit for any work you may 
have on hand, from the passing of a counterfeit bill to the killing 
of an enemy. 

Snaky, (to Jackson) Can he suspect we handle the queer? 

Truth. Wall, boys, I reckon I'll be peelin'out. (goes up to door in 
flat) Oh, I forgot, (coming down to Joe) Say, Square, (Joe goes to 
him) You haint seen nothin* ov my nephy Bijah Doolittle around 
these parts, I 'spose? 

Joe. (c.) No, stranger, (aside) Is everything all right ? 

Truth, (l c, aside) Tight as a drum, Bob ! 

Joe. Are you sure ? 

Truth. Sure ! Ask me if I'm sure this nose belongs to me. 
(aloud) Ain't seen him, hey ! Wall, I didn't s'pose ye had ! (goes 
up) Wall, boys, all over, as we say in Hohokus, and if ever you 
come that way don't forgit to call on Truthful James of Hohokus, 
N. G., the man as couldn't tell a lie ! (all laugh, &>c) 

Exit Truthful, door in flat. 

Jackson. Wall, he are a good un ! 

Snaky. That song were the boss, no mistake ! But say, what do 
you say to a game of cards ? 

Jackson. Aye, that's the business! Joe, will you take a hand 
in? 

Joe. I'll take a hand in by and bye ! (whistle heard off *L.) 

Snaky. Sh ! Here he is now ! 

Joe. Who? 

Snaky, (looking off) The Vampire ! The gal is with him! 
Come boys, let's sherry ! Exeunt, L. 

Joe. Now for work ; Lillian must be saved. 

Exit L., after others. 

Enter Greythorne, door in flat, leading Lillian ; they come 

down R. 

Grey. There, you can rest now for awhile ! 

Lillian. Have you in your heart no touch of pity, that my tears, 
my entreaties will not move you ? You see me a poor defenceless 
girl ; why will you torture me in this way? 

Grey. Because you are obstinate. Because you will not con- 
sent to become my wife ! 

Lillian. Your wife, never ! If you will not give me my liberty., 
why not kill me and end my suffering ? 

Grey. Come, this is no time to spend in idle talk! We'll try 
and find something to eat ! What ho there, Kate ! (Lillian sits 
at table, R. ) 

Enter Kate, door R. 

Grey. Kate, bring us some refreshments, and be quick about 
it. (Kate starts) 



24 TRIED AND TRUE. 

Lillian. You need not trouble yourself. I could eat nothing. 

Grey. Then go in there, {pointing to door R.) and rest awhile. 
(exit Lillian, looking after her) Bah! she's a fool ! If I'd thought 
she'd have given me so much trouble, I'd never have given her a 
thought, [to Kate) Leave us. 

Kate, [who has crossed L. <?/* Greythorne, watches him; aside) I'll 
watch you, Elliot Greythorne, never fear, (exit, door in fiat l., but 
returns at once and stealthily conceals herself behind barrels or boxes 
in R. U. corner) 

Grey, [with back to door where Kate exits) I don't like that 
woman's look. I'm afraid she means mischief. Well, let her try 
it. I've gone too far to retrace my steps now. I must see it to 
the end. Exit, R. 

Enter Robert, door l. 

Robt. That wretch has Lillian completely in his power. What 
can I do to save her ? Whatever it is it must be done quickly. 

Grey, [inside, R.) Come, stop this whimpering, or I'll find means 
to make you. 

Robt. Oh, I can stand this no longer ! [about to rush toward 
Greythorne — Kate comes between — Robert pulls knife) Who 
are you ? Speak ! 

Kate. A friend ! What would you do ? 

Robt. Protect her. 

Kate. What, you know her then ? 

Robt. Know her? Woman, she is my sister ! 

Kate. Your sister ! 

Grey, [inside, r.) Come, I've changed my mind. I don't feel 
safe here, we will leave at once. 

Robt. They are going to leave here at once. I must prevent it ; 
but how ? 

Kate. I must leave you, for should he see me here he would kill 
me. 

Robt. Go, and Heaven bless you. (exit Kate, l.; Robert goes 
up stage, partly conceals himself behind box, and watches scene) 
Now, Elliot Greythorne, we will balance accounts. 

Grey, [inside, r.) Come, enough of this nonsense — come, I say. 
[throws Lillian out on stage) Don't be a fool, [takes her hand 
and tries to force her along ; she grabs knife fro?n table atid lakes 
stage l.) 

Lillian. Hold ! Do not attempt to cross me. 

Grey. Bah! Afraid of a woman? We'll see about that, my 
fine lady, [starts for her) 

Robt. [coming down) Stand back! Another step and you are a 
dead man ! 

Grey. W r ho are you ? 



TRIED AND TRUE. 



25 



Robt. A man ! 
^ Grey. You whelp ! I'll teach you not to interfere with my work. 
I'll make short work of you. {jumps at Robert ; struggle — Mug- 
gins enters during struggle, door in flat, grabs Greythorne by 
right hand and throws him to l. corner — enter Snaky Jim and 
Jackson, door l. — they seize Robert from behind and secure him 
( — Muggins, attracted by the noise, turns to assist Robert, is struck 
from behind by Greythorne, who has him likewise secured— this 
business should be done clean and quick) 

Grey, {after Robert and Muggins are secured) So, Jackson, 
this is the new man you spoke of, is it ? 

Jackson. Yes, cap. 

Grey. You should be more careful, {to Robert) Here, show 
your face. (Robert does so) If you could read faces as well as I, 
you would never have had him here. There is a devil lurking in 
his eye. 

Robert. Then it is a reflection of yourself. 

Grey. No insinuations, or I'll send you into eternity sooner than 
I intended ! 

Robt. You are like a snake in the grass — a crawling reptile. You 
strike in the dark — afraid to meet your foe face to face. You 
strike from behind. Such a man should be branded a coward. 
(Greythorne draws kjiife and rushes toward Robert) Strike if 
you dare ! 

Grey, {lowers knife) No, I have a worse fate in store for you. 
Place them in the underground cell. With the other he shall meet 
his fate. The gas must not be turned on till I give the signal. 
(Jackson and Snaky, exeunt with Robert and Muggins) 

Grey. Ha, ha, ha ! Who holds the winning hand ? {goes to door 
R., calls "Kate"; Kate enters) Here, take charge of this girl. 
But hark you, no treachery, {threatening) I'm getting desperate, 
and one false move on your part, {with knife) — well, you under- 
stand ? 

Kate. Of what use would it be to me to help them ; they are 
strangers to me. As for your threats, they do not frighten me. 

Grey. There, I meant nothing. My temper got the better of me. 
{Kate pauses) Why do you linger? {to Lillian) Go girl, with 
her. Exit, l. door. 

Lillian. Heaven help me ! I am lost to every one for ever, {bow- 
ing head on table) 

Kate. Come, my child, no harm shall befall you if I can help 
it. Come. Alas, that they should fall into the clutches of those 
accursed devils — and at the very moment when they were almost 
certain of success. Well, come what may, I will do all in my 
power to aid them to escape from this worse than fiend — this 
Satan. Yet I must be cautious ; for should he suspect me of 
scheming against him, it would cost me my life — my life, that I 



26 TRIED AND TRUE. 

can never give up until I have settled my score with him for mak- 
ing me what I am—an outcast from the world. Ah, Elliot Grey- 
thorne, you little dream of the trap you are setting for yourself. 
(to Lillian) My dear, I will leave you for a while. Keep up a 
brave heart. You have a friend in me. Exit, R. 

Lillian. How much longer must I endure this torture ? What 
will become of me ! Father and mother, look down upon your 
child and send me help that I may escape from this fiend. Poor 
mother ! Why was I not taken instead of you ! It would have 
been much better — much better, (noise of lock) Soft, some one is 
coming ! 

Enter Kate, r. 

Kate, [goes to Lillian) My poor girl ! 

Lillian. Thanks, you are my friend, I feel you are ! Heaven 
grant you may never know such misery as I have suffered 
through this man Elliot Greythorne. 

Kate. Ah my poor girl, I know too well the suffering you have 
been subjected to — for I too have suffered ! Years ago this same 
Elliot Greythorne came to my home and professed love for me ! I 
was young and foolish, and easily gave way to his entreaties, 
(enter Greythorne at back ; he listens) You see me now, changed 
by this man's villainy from an innocent girl to a wretched, heart- 
broken woman. Ah, Elliot Greythorne, you would make for your- 
self another victim — go on in your devilish work, but beware ! 
beware ! 

Greythorne, comes down ; she turns and sees him, quickly draws 
stiletto from bosom and conceals it with dress. 

Grey. So you would turn traitor, eh ! 

Kate. Traitor ! No ! It is you who are the traitor — traitor to all 
that is right and just. Traitor to yourself ; to me whom you once 
professed to love, whom you swore to protect ! For years I have 
acted as your menial, your slave — have crouched like a whipped 
cur at your feet. But I will do so no longer. The hour of my 
retribution is at hand! [rushes at him and tries to stab him ; he 
grabs knife aud throws her on stage, on knee) 

Grey. Ha! Ha! Ha! [calls) What ho, there! help! (enter 
Snaky and Jackson) Take away this woman — she is mad ! 

Kate, [screeches and rushes to door) I am not mad, Elliot Grey- 
thorne — and if I am it is you who made me so ! 

Grey. Away with her! [they carry Kate off r. — to Lillian) 
Come, Lillian, don't mind that woman ; she is crazy. (Lillian 
bows head on table) Now don't cry. Whimpering won't 
help you. I'm well aware this is not a very gorgeous affair for 
a bridal chamber, but as the wife of a man like me, you 



TRIED AND TRUE. 27 

must expect your share of bitter with the sweet. As for those 
two chaps who tried to aid you, if they are not now in the land of 
rest they soon will be, for already the fumes of the gas rise at my 
very feet ! The underground cage has settled more than them ! 
{goes to take her hand) 

Lillian, {springs up) Do not touch me ! 

Grey. Look here, girl ! The sooner you conquer this foolish 
modesty the better it will be for you ! You are mine, and you 
can't help yourself. Will you marry me or not? 

Lillian. Never ! 

Grey. We will see ! I'll give you just one hour to reconsider, 
and if at the end of that time you still refuse my offer, I'll give you 
bread and water until some of the obstinacy is taken out of you. 
I'll leave you now. Remember, one hour ! I will come for my 
answer ! Exit, door in fiat. 

Lillian. Heaven have mercy on me ! {rushes to door) 

Jim. (enters R. , and goes between her and door) Yer can't pass 
here, miss, without the captain's orders! The door is locked, so 
you had better take things coolly. Exit, door in fiat. 

Lillian, {falls into chair at table) All attempt at escape is useless 
— what shall I do ! {head falls ; noise under stage at trap — if there is 
no trap, at doorL..) It sounds like some one striking blows. Why, 
the sounds come nearer ! Where can it come from ? Who can it 
be ? Perhaps some poor wretch like myself, struggling for life and 
freedom, {listens) Why, it is beneath my feet ! {kneels, or goes to 
door) What a smell of gas ! What does it mean? Work on, who- 
ever you are, and may Heaven grant you success! {trap raises C. 
— Robert appears with shovel, exhausted) 

Robt. Hush ! They will hear you ! 

Lillian. Tell me, why are you here ! 

Robt. To save you ! 

Lillian. Me? 

Robt. Sh ! I can scarcely speak ! 

Lillian. You are ill ? 

Robt. No! No! I'm all right now. He thought to kill us by 
letting gas into the underground cell. Already the fresh air is re- 
viving me — I feel strong again. We must make haste ! Trust me 
to save you ! 

Lillian. You, a stranger and risk his life for me ! I cannot un- 
derstand. Speak ! Who are you ? 

Robt. Your — friend. Trust me, and we will baffle this devil 
yet! {goes to trap and whistles— Muggins appears at trap with 
pickaxe) 

Mug-. Den Opodildoc said unto Plum Duff — " Here we are 
again." 

Robt. Come up, Muggins! 

Mug. Oh, I'm a-comin', chalk it down ! De air down dere is 



28 TRIED AND TRUE. 

too gassy for to suit my delicate constitution. I never could stand 
gas for a steady diet ! Say, I thought we was on de roof! Dat 
feller Grey thorne is a cute one, ain't he ? A reglar out and outer, he 
is. Why, when he first let dat gas loose I was nearly skeered outer 
my seventeen senses — but I soon got used to it. Oh, I'm seasoned, I 
am — had salt and pepper rubbed into me afore I was old enough 
to know beans, {sees Lillian) Hello ! Dere's dat attic angel ! 
{biz, bowing) 

Robt. [to Lillian) You can trust him ; he's my right bower ! 

Mug. Oh yes. Don't mind me. I ain't nobody, nohow, am I ? 
{to Robert) 

Lillian. I feel that I can trust you both ! But how can I thank 
you for risking your lives in trying to save me? 

Robt. Say no more about it. I would save you were you in 
forty times your present peril ! * 

Mug. [slapping him on the back) Keno ! How folks do think 
alike ! Dem's de werry identertical sentiments as was a running 
thro* my noddle [sees bottle) Hallo, what's dis, Cham-pag-ny ? 
{goes to drink) Dat gas made me thirsty ! 

Robt. {noise off back) Sh, someone is coming ! 

Mug. Oh Christmas! {drops bottle; it breaks) We're cotched 
sure ! {picks up bottle neck) 

Robt. We must hide ! 

Lillian. Quick ! Conceal yourselves ! 

Mug. Where ! Oh, how I wish I could swaller myself. Oh 
Christmas ; here's de boss racket ! Say, kiver me over wid dis 
barrel ! 

Lillian. Yes, that will do ! Do not breathe till they are gone. 

Mug. All right, miss. I wont breathe for a month ! 

Robt Sh ! [covers him with barrel) Now for myself! [hides — 
Lillian feigns sleep on cot) 

Enter Snaky Jim, door in fiat — he goes to Lillian. 

Snaky. Asleep, eh ! [shows locket) How lucky I was to be near 
the Vampire when he dropped this. It's the one he got from 
Bruce the night he cashed in at the "Red Light." I'll hang to 
it ; it's the only pay I shall ever get for my part in that little trans- 
action ! There'll be the devil to pay when he finds it gone. I'll 
collect the rest ov my swag and vamoose. I'll go and turn gen- 
tleman — ha! ha! Now for my beauties! [goes up where Mug. is 
hidden; tries to inove barrel ; gets on box and takes casket from 
ivall) I reckon if the boys knew these were here they'd come 
oftener. [comes down, box under arm, rubbing hands — Lillian 
moves) Ha! What was that ! [draws knife — rushes up and bends 
over her ; loivers knife slowly) You'd better not wake now, my 
lady, or it'll be worse for ye ! {at table) Ha ! my treasures ! I've 



TRIED AND TRUE. 



2 9 



been years getting ye together! [takes watch) Your owner won't 
tell no tales, I reckon ; he's cashed in his checks, {takes ring) As 
for you, you were a hard one to get at— cost the lady as wore you 
her life! But you're mine now, all mine ! (Mug. sticks head thro 
barrel, sees him and comes down in barrel ; joints bottle nose and 
taps him on shoulder) 

Snaky. Ah ! Who are you ! 

Mug. Well, I'm a fust cousin to Gineral Grant, and brother-in- 
law to de Emperor ov China. Dat's my cognomen. I've taken a 
rushin' big contrac' for to poperlate a private cemetery, and I'm 
alookin' for men of jist about your size and weight. 

Snaky. What? 

Mug. {repeat) Wat! {spells) W — a— t — e! (Snaky goes to call 
for help when Muggins claps hand over his mouth) 

Mug. You open your mouth and I'll send yer on a huntin' expe- 
dition! (Snaky puts hand on pistol) He — ar ! I've got my eye on 
dat pepper-box; guess you'd better hand it over ! (Snaky does so) 
Correct ! Dat's jist what I'm arter ! Lucky I broke dat bottle! 
{shows it and puts it in pocket) Den Opodildoc said unto Plum 
Duff {turns and sees Snaky who has grabbed knife from table and 
is about to spring upon him) " Drop it !" Now den, fust pull out dis 
way. (Snaky hands knife) Now sit down, and I'll give yer yer sup- 
per. It's a wooden one — de same dat yer guv to me ; so we're 
square now, chalk it down ! {putting gag on Snaky) Say Bob! 
(Robert comes forward) 

Robt. Well done, Muggins. And now we must escape. (Lil- 
lian comes down) 

Mug. Say, what'll we do with dis animal? Here, baby mine, 
you lay down and let the gentle heifers fan your alabaster eyebrows. 
(lakes Jim and throws him on stage up R.) 

Robert. Come, we must make haste. 

Lillian, {at door in fat) It is too late ! He is coming. 

Robt. Quick, Muggins ! hide again, but be ready, {goes down 
trap) 

Mug. Oh, I'll be round in spots! {hides as before; Lillian at 
table) 

Lillian. What can he want ? Does he suspect ? 

Enter Greythorne, door in flat. 

Grey, {aside) There is something wrong here. W r here is the man 
that was guarding that door — speak girl ! 

Lillian, {aside) What shall I say ? 

Grey, {sees Snaky) What's this! {takes gag from Snaky' s 
mouth) Speak man, quick — who put you here? 

Snaky. The new pard and his mate — he's there, (points down 
trap) 



30 TRIED AND TRUE. 

Grey. Ha, I see it all! The underground passage ! Here Jim, 
take this, (hands pistol) Now down with you, and bring him up 
dead or alive, (exit Jim down trap, or through door~L.) Now 
then, to call the boys; [whistles; to Lillian) and as for you, 
girl, your blood be on your own head — I'll show no mercy ! [men 
rush on L. — Jackson at head; during biz., enter Kate leisurely, 
R. and stands at head of crowd, R., music hurried, pp. till curtain) 
Now then boys, listen to me. What do we with a spy that is 
found in our midst ? 

Omnes. Lynch him. Lynch him ! 

Grey. Ha ! There is one among you at this moment ! 

Omnes. Where ! Where ! 

Grey. There ! (points to trap ; gunshot down trap) Come boys, 
to the trap! [they start forward L.; Muggins rises, and biz) 

Mug. Git back ! I'll put a semi-colon right plum atween de eyes 
of de fust gayloot as interferes ! 

Kate. And so will I. (biz r.,— Robert up trap) 

Jackson. Cuss ye ! Do you mean it ? 

Mug. Chalk it down. 

Grey. Ah, at last ! Well Jim ? 

Robt. (disguised as Jim) He's dead ! 

Grey. Good ! See to the girl. (Robert goes up and grabs Lil- 
lian, back to audience) 

Grey, (talks down trap) I told you I'd fix you. Now Jim, give 
me the girl ! 

Robert. No ! 

Grey. What do you mean ? 

Robert. I mean that she belongs to me. Jim is dead, and you 
can't have her ! (throws off disguise, and biz) 

Lillian. Robert! (biz) 

QUICK CURTAIN. 



ACT III, 



Scene I. — Street in 1st grooves — lively music to open — lights full. 

Enter Pollux, r. i. e., whistling— has basket on arm. 

Pollux. Yah ! yah ! If dat isn't de finest bird in dis town den 
I'se a dutchman ! I reckon Miss Belinda will jest be tickled to 
deffwhen she sees dat ! (shows turkey) She comes way down here 
from Fifth Avenue to de Washington Market to patronize de boys 



TRIED AND TRUE. 



31 



kase dey was kind to her when she was poor and used to sell bou- 
quets down here! 

Enter Bruce, neatly dressed as letter carrier, L. 1 E, goes to door in 
fiat, whistles and calls name with letter carrier s biz. 

Pollux, [to carrier) Say, got any letters for George Washington 
Pollux Esq. ? 

Bruce. Why, hello Pollux ! 

Pollux. Goodness gracious! Why, is dat yo\ Mr. Bruce? I 
didn't know yo' ! Why, yo's all dressed up ! Letter carrier, eh? 

Bruce. Yes, I'm carrying letters for the mail. Some of my old 
friends got me the position soon after I was acquitted of that 
scoundrel's charge, who failed to appear to prosecute. 

Pollux. Yo' don't say so ! 

Bruce. Fact Pollux, but what are you doing? 

Pollux. Well, at present, I'm carrying Lettuce for the Female. 
[shows lettuce) Ha ! 

Bruce. Ha ! Ha ! Very clever ! When did you get married ? 

Pollux. Married! Go 'way, yo's jokin', Mr. Bruce! I 's left 
de "Red Light" and I 's engaged as body servant to a young 
lady, and dis am her birthday, and we's goin' to hab a blowout, 
and I's down here now a layin' in de eatables ! When I mention 
de name ob Montrose de butcher boys all pick out de best dey's 
got — look at dat bird ! 

Bruce. Montrose ! Why you don't mean Belinda — the little 
flower girl ? 

Pollux. Yes ! Dat's de gal ! 

Bruce. Well, well ! Come into a fortune, hey ? 

Pollux. Yes sah ! No end ob dust ! An ole aunt ob hers, dat 
she'd neber seed, kicked de bucket and left her all de rocks. 

Bruce. I'm glad to hear it ; and I trust she will always be the 
master instead of becoming its slave. By the way, Pollux, what- 
ever became of that young man she used to travel with, Muggins ? 
I haven't seen him for a long time ! She hasn't gone back on 
him, has she ? 

I Pollux. Now look hyar, Mr. Bruce, don't yo' go for to 'sinuate 
nuffin' like dat agin my missus ; she don't go back on nuffin', she 
don't! She's a trump cyard and hard to beat, you hear me! 
Why sah, she keered more fer dat feller nor she does for her best 
Sunday-go-to-meetin' pollynay ! 

Bruce. But what became of him ? 

Pollux. Well, dat's a Ka-nundrum dat I can't propound ! But 
he's no slouch, dat feller, he'll turn up some ob dese days, an' 
when he does, whew ! Well, yo's heerd de story in de Bible 
about de prodigal son a comin' home, how de ole man went out 
into de barn and killed his best calf in honor ob de 'casion? Well 



32 TRIED AND TRUE. 

sah, dat won't be a circumstance. Why, when Mr. Muggins turns 
up — dar'll be a whole bull slaughtered now. You hear me ! 

Bruce. Well Pollux, I hope he'll show up all right. But I must 
be going ! 

Pollux. Yas, dat'safact! I'm goin' your way ; 'spose you's 
no rejections to my goin' along wid yer ! 

Bruce. Not at all. But come. Exit R. 

Pollux, [to audience') Now, who'd a thought it? A little while 
ago, he was no better than a bum ; and to-day he's a man. And 
when a man is a man — well, he's something in dis country. I's 
got to make a call on a colored female down dis way, an' 'spose 
she's a-waiting for me, so I'll light out. Exit R. 

Enter Robert and Lillian, l. i e. 

Robert. At last, Lillian, after all our troubles we return again to 
the scenes of the past. I trust our trials are now at an end ! 

Lillian. Robert, let us try to forget all we have suffered and 
think only of our present happiness ! 

Robert. You are right ; we'll let the past take care of itself and 
think only of the future. And yet there are times, Lillian, when, 
try as I may, I cannot crush those dark shadows out of my mem- 
ory. But pshaw ! I've got you back again and I'm sure I've 
every reason to be thankful. I wonder where Muggins can be ; I 
thought we might find him about here — that is why I came this 
way. However, he is to meet me at the hotel at two o'clock. 

Lillian. Robert, what a dear kind friend he has proven himself 
to be ! 

Robert. So he has ! We owe him much and I am sure we shall 
never forget him. But come, let us go to the hotel ; it is nearly 
lunch time. 

Lillian. How lovely everything seems, and how happy I am ! 

Robert. We have good cause to be happy. Come. 

Exeunt Robert and Lillian, r. 

Enter Belinda l. I e. flashily dressed. 

Belinda. I wonder where that Pollux can be ! Gemini ! How 
natural it does seem to be down here in the old place once more. 
It seems so strange to think that only a few months ago I was trav- 
elling through these very streets selling bouquets for a living ; and 
now I'm a real lady with plenty of everything ! The idea of that 
old aunt of mine popping off the handle and leaving me all her 
money when she'd never even seen me since I was a little wee bit of 
a baby ! Well, I ought not to complain, It's my place to be very 
happy I suppose. I've plenty of money and lots of nice dresses, 
but still there's something missing. I wonder what it is ! 



TRIED AND TRUE. 



Enter MuGGlNSfashily dressed, R. I E., whistling. 



33 



Mug. (sees Belinda) Golly! Who's dat? Christmas, it's Be- 
linda ! [whistles) 

Belinda, (hears whistle) Why, I thought I was alone! Oh my ! 
What a swell ! [tries to see his face which Muggins hides behind 
collar) 

Mug. I wonder if she recognizes me ! 

Belinda. Gemini, what a collar! Wonder who he is! I can't 
see his face, but I've seen that figure somewhere before now. 
(r.) What ! Can it be ! Yes, 'tis he ! 

Mug. (l. turns) Belinda! (they embrace) 

Belinda. Bless me, it's my Mug ! 

Mug. No, it's my mug ! 

Belinda. Tis him ! 

Mug. 'Tis her ! 

Belinda. That voice ! 

Mug. Those feet ! Can I forget those feet? never! Belinda 
Jane, embrace, your Mug ! (Bis, kiss) Then Opodildoc said unto 
Plum Duff, " repeat the dose ! " 

Belinda. Oh Muggy, is it really you? 

Mug. You can bet your suspenders on it ; chalk it down ! 

Belinda. Wherever did you come from ? and where did you get 
'em ? (referring to clothes) 

Mug. Had a room mate, and I got up first. 

Belinda. Where have you been ? 

Mug. Well, de last place I left was dat Mulberry Street mansion 
dat you used to hang out in ! I thought perhaps you might have 
left something behind you dat would tell me where yer had gone. 
So I got up to de room, I opened de door an' a great big yaller 
dog leaped at me. I lit out for de stairs but he was too sudden 
an' I set right down in dat dog's mouth. Oh ! Belinda, I never 
imagined that so much agony could be jammed into one little 
minute. 

Belinda. Did he hurt you ? 

Mug. Well yes, he worried me a little, (turns) I shall take my 
meals standing for a month to come ! (shows patch) 

Belinda. What's that ? 

Mug. What is it ! You'd better ax de other dog ; he did it. 
They're not my pants either. But dat dog won't bother me no 
more, I reckon, (shows tail) 

Belinda. Gracious ! What is it ? 

Mug. I inserted my molars into dat dog's narrative an' he'll fly 
his tail half mast for de rest ov his existence ! 

Belinda, (laughing) Oh, what a horrible tail ! 

Mug. What will Bob say ? De next pair ov trousers I git, I'll 



34 TRIED AND TRUE. 

take out an insurance policy on 'em agin accidents! But say, 
Belinda, how do you like de style? 

Belinda. Splendiferous ! 

Mug. Hey ? 

Bel. Splendiferous ! 

Mug. Don't reckernise de word. 

Bel. Beautiful! 

Mug. What! Why, git your optical organs onto dat collar. I 
reckon dat becomes my style ov beauty ! How's dem trowser- 
loons ? Dey're what I call daisies. 

Belinda. Say, Mug, how will you ever get out of them ? 

Mug. Wall, I dunno. I reckon I'll have to be melted down and 
run out. 

Bel. But say, Mug, where have you been ever since the night 
you was going to take me to Jim Donovan's swarry? 

Mug. Where have I been? I've been out fightin' injuns. 

Bel. Did you kill any ? 

Mug. Kill any ! Why say, I've brought home scalps enough 
to cover a hair trunk ! 

Bel. Scalps! 

Mug. S-k-u-1-p-s — scalps, dat's what I said ! I've been wid a 
friend ov mine, a tryin' to rescue his sister from de hands ov a 
villyan. 

Belinda. What did he do ? 

Mug. What did he do ! What didn't he do ! Who didn't 
he do! Hoop de dood-el-do — don't ax me, 'cause every time I 
think ov it I git so mad I feel jest like killin' somebody. 

Bel. Oh, isn't it romantic ! Just like a play. 

Mug. Well, I reckon dere warn't much play about it; but say, 
Belinda, where did yer raise dem garments? 

Bel. Oh, I'm a heiress. I've fallen into a fortune since you 
went away. 

Mug. Go 'way ! 

Bel. Yes indeed ! I don't sell bouquets no more. I'm a lady. 

Mug. You don't say so ! Well, I never should have known it. 

Bel. {aside) I must plague him a little, {indignantly) Sir! Well, 
good bye. I must be going, {starting to go) 

Mug. Say, hold on, Belinda. 

Bel. Can't stop. Willie is a waitin' for me ! 

Mug. Oh, Willie is a waitin', is he ! Willie ! Say, who is Wil- 
lie when he's home? 

Bel. Why, he's my steady company ! 

Mug. Oh! Yer steady company, hey! Willie! I'll bet a 
peanut that Willie parts his hair in the middle. Well, look here 
Belinda, if I run agin Willie, I'll bite Willie's ear ofT— chalk it 
down. 



TRIED AND TRUE, 35 

Bel. [coaxingly) There, there, Mug; there isn't any Willie. 
[chin biz) I was only fooling you ! Ain't you glad ? 

Mug. Yes, I'm glad for Willie's sake ! 

Bel. But I must be going. This is my birthday, and I'm down 
here making some purchases. Won't you come with me, Mug? 

Mug. You're sure dere ain't no Willie ? 

Bel. Certain! [song introduced) 

Mug. All right ; hitch ! And on de way, I'll take you down 
and introduce you to some friends of mine. Propel ! 

Exeunt Muggins and Belinda, l. i e. 

Enter Greythorne and Jackson, r. i e. 

Grey. I confess that I have been beaten for the time, Jackson, 
but I will win the game yet ! I've traced them ; they are stopping 
in Fifth Avenue. But come, why not let me have the locket ? 
Give it to me ! 

Jackson. No ! Not until I have the cash in my hands ; a bird 
in the hand is worth two in the bush. 

Grey. Yes, I know all this ; but you see it is necessary for me 
to have the locket! Without it I cannot carry out my plans! I 
must have it, and I will have it. With it in my possession I can 
go to Robert Bruce and plead the penitent ; by so doing he will be 
thrown off his guard and think that I have given up the game. 
Then, when the chance offers, I will get Lillian once more into my 
power ; and then I defy them all to take her from me. So you 
see, Jim, I'm desperate. Give it to me at once ! 

Jackson. I've told yer once for all, yer won't get the locket till 
I get the money. 

Grey. I won't, hey! [strikes him with slung shot ; he falls ; 
chord ; hurried music to end of scene) You fool, you forced me to 
it ! [searches pockets, finds locket) Ha ! At last ! No one saw me ! 
Now then, to try my last chance. Exit hurriedly, R. 1 e. 

Enter Bruce, l. i e. 

Bruce, [after Greythorne' sexit) Why, hello, what's this! [feel- 
ing breast) He's not dead — he's only stunned ; a tough clip though. 
It'll send him to the hospital, I reckon. (Jackson recovering) 
Why, hello, he's coming to. Come with me, my friend. It's all 
right. (Exit R. 1 E., — scene changes to) 

Scene II. — Parlor in 3d grooves — doors C, R. and L. — c. D. show- 
ing window backed by street — sofa L. C. — table and chairs R. C.^. 
— chairs at back to dress stage — lively music, eight bars. 

Enter Pollux, c. d., puffing. 

Pollux. Whew ! Here I is home ag'in at last ! I'se all out of 



36 TRIED AND TRUE. 

breff! I reckon Miss Belinda must t'ink dat I'se done run off for 
good and all! Hi, golly ! I wonder vvhar she am. She's done 
gone out, dat's what she's done! Golly! I bet she's gone out 
to look for me ! Whew ! When she comes in, I'll cotch it suah ! 
I know what I'll do, I'll just relieve myself of dese raiments and 
dust up de furniture; den when she comes in I'll take my Solo- 
mon Alfred David dat I was in de house fo' de last two hours ! 
{takes off coat, and biz with duster — door bell rings off L. 3 e.) 
Hallo! dar's Miss Belinda now! I t'ink I'll jes' let her ring 
awhile, den I'll say I was down in de kitchen and didn't hear her. 
{ring off) Yes, dat's her, suah! I kin alius tell herring, [ring 
off) Dat's right, bust de whole business ! Hi, golly, won't she be 
mad! [long ring off) Whew! She's mad now! I reckon I'd 
better let her in afore she gits too mad, or she might come in here 
and pull my hair out ! She's big as a sawmill when she's wexed ! 
{ring off ) Yes ma'am! All right ! I's coming! etc. 

Exit c. D. and re-enter with Belinda. 

Belinda, (l.) What do you mean by keeping me waiting a half 
hour on the doorstep ? 

Pollux, (r.) Hi, golly, missus, was dat you what was ringin' all 
de time? 

Belinda. Why certainly, who did you think it was? 

Pollux. Well, you see, missus, I was down in de kitchen an' I 
heerd de bell go jingle jingle, dat way, so I started for de door, 
when jes' as I got half way up de stars, way goes de bell agin, jin- 
gle jingle ! Hi, golly, says I, Pollux dat isn't your missus, dem's 
burglers suah, dey musn't git in here or dey'll carry off all de 
furniture, den de bell go ag'in ; den I change my mind, an' I say 
to myself, no sar! Pollux, dem isn't burglers, dem's somebody 
else; den anoder ring, den I say, now p'r'raps dat's missus arter 
all ! Den I goes to de door and dar you is, suah enuff! 

Belinda. I am glad you concluded to let me in at last! I ought 
to be very angry with you, but I can't be angry to-day with any- 
body ! 

Pollux. Tank yo\ missus ; it's your birthday, isn't it? Well, I 
wish you may live to see a t'ousand of 'em. 

Belinda. Thank you, Pollux. I've met an old friend of mine 
and I'm very happy. 

Pollux. Say, missus, an old friend ? 

Belinda. A very old friend ! 

Pollux. Not Mr. Muggins! 

Belinda. Yes! He's come back. 

Pollux. What, really ? 

Belinda. Really! 

Pollux. Truly? 

Belinda. Truly ! 

Pollux. Hooray ! Say, missus, whar is he ? 



TRIED AND TRUE. 



37 



Belinda. He's on his way here now with some friends. 

Pollux, {dusting very rapidly) Hi, golly ! Now dar wit/be a pic- 
nic! yah! yah! (in his excitement he begins dusting BELINDA, L. ) 

Belinda, (r.) Here ! Here! What are you about? 

Pollux. Well, I'm about tickled to deft, Missus. I reckon I'd 
better go down to de kitchen an' help de cook peel dem 'taters 
an' git de dinner ready — urn ! De lost sheep am returned ! 
Hooray! I'll go down an' git square on dat cook ! I'll give her 
a hug dat will bust hergizard, you hear me ! Exit, excitedly. 

Belinda. Poor Pollux, he's half crazy. Ha! ha! ha! And I do 
believe I'm nearly as bad myself! Lord! How nice it will be 
with Muggy home again once more! And then there's Miss Lil- 
lian and her brother too. Oh dear ! Was ever a girl so very very 
happy ! {bell rings — calling) Pollux ! There's the bell ! 

Enter Pollux c. d., speaking as he crosses ; very lively. 

Pollux. Yes, Miss, dat's him ! I seed him frough de sky-light ! 
Shoo ! Exit, c. D. 

Belinda. I wonder how he'll like my new home. I'll pretend 
not to be thinking of him. (takes book and sits on sofa l. c, read- 
ing) 

Re-enter Pollux and Muggins ; biz of shaking hands — Pollux 
pantomimes Muggins to kiss her — Muggins comes down on tiptoe 
back of sofa, clasps hands over Belinda's eyes and kisses her— 
Pollux raises hands in ecstacy, and exclaims "Shoo! " 

Mug. (looking around in admiration) Say, Belinda, dis beats de 
Mulbery Street mansion, don't it! Where did you git all de furni- 
ture ? 

Belinda. Why, I bought it! 

Mug. Did, hey ! (feeling chair) Christmas, ain't dem soft kivers ! 

Belinda. Yes ; come and sit down, Mug. 

Mug. (biz of sitting) Gewillikins ! Say, Belinda, if I lived here 
an' had such cheers as dem, I should be sittin' down all de time. 

Belinda. Are your friends coming soon? 

Mug. Yes, dey're on the way here now ! I run ahead 'cause I 
had a little private shopping to do on my own hook ! 

Belinda. What, you ! Why, what did you buy ? 

Mug. Well, it's in my vest pocket there ; (pointing to pocket) you 
can take it out an' see for yourself ! 

Belinda, (biz, takes ring from pocket) Why, it's a ring! 

Mug. Yes, dat's what de jeweller called it ! 

Belinda. But, mug, it's a lady's ring ! 

Mug. Yes, a young lady dat looks a good deal like you ! It's an 
engagement ring ! It's your birthday, an' that's my present, (takes 
her hand and slips ring on her finger) Will you wear it, Belinda ? 



38 TRIED AND TRUE. 

Belinda. Oh Mug ! I — that is — oh dear ! {wipes eyes and rests 
head on his shoulder) 

Mug. Now, don't go crying, 'cause dere isn't any need of dat! 
I mean business, I do ! Everybody is gettin' married nowadays, 
an' you're nobody if you ain't in de fashion. Why, Belinda, you 
and me has known each other ever since we were little bits of 
things no higher nor a chaw of tobacker ; it's time for us to git 
spliced an' settle down an' help swell de census like other folks ! 

Belinda. Oh, Muggy dear, I'm so glad! 

Mug. Yes, I'm glad you're glad ! Will you marry me ! 

Enter POLLUX, C. D. 

Belinda. I'm — afraid — I — will. 

Mug. Hurrah ! 

Pollux, {ate. D.) Hurrah! 

Mug. Why, hallo, Coal-dust ; what are you yelling about? 

Pollux. Please Miss, dar's somebody at de door ! 

Mug. It's Bob! 

Belinda. Show them up, Pollux. 

Mug. Yes, show them up, George Washington. Lively now — 
git ! Oh how I will make dat coon stand around when I am 
master ov all I survey ! Belinda, I'm so happy I'm half crazy. It 
seems like a dream. Bite my finger an' see if I'm awake, [she 
does so) Hold on, it's all right ! Hurray ! [to R.) 

Re-enter Pollux with Robert, Lillian and Kate — Belindia to 
Kate and Lillian, l. c, up. 

Robt. You see we're here according to agreement, Miss Mon- 
trose. Why Muggins, what's the matter — you look excited? 

Mug. Excited ! Say, Belinda, come here, {introducing) Bob, 
Mrs. Muggins dat is to be ! 

Robt. What! 

Mug. Fact, Bob! I've popped; ax her. I'll name de fust 
babby arter you, hurrah! 

Belinda, {down C.) There ! There ! Muggy, keep quiet! 

Mug. Quiet ! I can't ! I shall stand on my head in a minute, I 
know I shall ! {takes chair, R.) 

Robt. Miss Montrose, I congratulate you. {crosses to R. C.) 

Lillian. And I 

Kate. And I, with all my heart ! 

Lillian. If he is as true to you as he has been to us, you will 
have no cause to complain. 

Mug. {on chair) Hurrah! {Belinda crosses to Mug.) 

Robt. (l. c. andL..; to Belinda) I'm afraid you will have to 
take him in hand ; he is getting unruly, {laugh) 



TRIED AND TRUE. 39 

Lillian, (downc.) You have a beautiful home here, Miss Mont- 
rose. How happy it must make you to meet your old friend on 
your birthday ! 

Belinda, (r. C.) I am very happy indeed! 

Lillian, (c.) Kate, do you not feel better here than you did in 
the scenes you have left ? 

Kate. (l. c.) A thousand times! The air seems laden with 
peace and happiness, and reminds me of the times when 1 too was 
happy ! 

Lillian. And it shall be my duty to make you so again ; and I 
am sure Miss Montrose will aid me. 

Belinda. With all my heart ! But come to my room and remove 
your bonnets ! Come ! 

Exeunt Kate, Lillian and Belinda, l. d. 

Mug. [rises, R.) Well Bob, how do you like her? 

Robt. (C.) Very much ! She is just what we need. With her 
around we will soon have Kate as happy as ourselves ! (re-enter 
Lillian, l. — Robert l. c.) Lillian ! 

Lillian. Oh Robert, how happy I am with so many kind friends 
around us ! Our suffering of the past seems like a dream ! {bell 
rings) 

Enter Pollux, c. d. 

Mug. Hallo! More visitors? 

Pollux. Dar's a gemman at de door says he would like to see 
Mr. Robert Bruce, sah ! 

Robt. Some one for me ? 

Pollux. Yes sah! oh, I forgot; dar's his keerd, sah. {handing 
card) 

Robt. {reading) Elliot Greythorne. 

Lillian. Oh, Robert! 

Mug. Oh, Christmas ! 

Robt. Have no fear Lillian, he will do us no harm ! 

Pollux. Shall I show him up, sah ? 

Mug. Yes, Ebony ; tell him to come up an' be sure an' wipe his 
feet on de door mat ! (exit Pollux, C. d.) Bob, if he says a word 
slug him ! I'll stand by you ! 

Enter Pollux with Greythorne, c. d. 

Grey. Ah, you seem surprised ; you did not expect me ! [biz, 
Muggins shakes fist at Greythorne — exit Muggens c. d.) 

Robt. (c. — Lillian l. c.) We were certainly not anxious to see 
you again. You will be kind enough to state your business here, 



that we may end this interview as quickly as possible. 

Grey. (r. c.) You mistake the object of my visit. I am here 



to 



40 TRIED AND TRUE. 

make amends for the past and to ask your forgiveness for that 
which I now consider was my folly. 

Robt. [aside) What can be his object in doing this ? [direct) 
Sir, I am at a loss to comprehend your motive in taking this step. 

Grey. Listen, and I will explain! [music , piano) 

Enter Kate and Belinda, l. 

Grey. What, Kate ! Confound it! [crosses to l.) 

Robt. It seems that it is now your turn to be surprised. 

Kate. Elliot Greythorne, what do you want here ! Do not 
attempt any more of your deception! Whoever else you may 
deceive, you cannot deceive me ! I know you too well ! I know 
you for the mean, treacherous being that you are ! 

Grey. Well, if you know me as you say you do, you will under- 
stand me when I tell you that I am here for a purpose and will not 
be balked. Bah ! Look here Kate, be sensible ; let by-gones be 
by-gones. 

Kate. It may be easy for you to forget the past, but by me it can 
never be forgotten, never ! Look, Elliot Greythorne, do you see 
that scar? Do you know what it is? It is the mark of a knife 
wielded by your hand ! When that blow ceases to show its mark, 
then, and not till then, can I forget the past ! I loved you once, 
and you, meaner than a crawling reptile, fawning upon that love, 
thought to force me into assisting you to deceive a young and 
trusting girl, whilst in mockery you wished to place upon her brow 
the wifely crown. But it was an empty crown you would have placed 
there, for in it there was no honor ! All this you tried to do 
through me — me, your wife ! Elliot Greythorne, my love for you 
has turned to bitter hatred. I know enough of your crimes to 
place you in a dungeon for the rest of your life. Leave this house 
before I deliver you into the hands of justice — Go ! [crosses R. 
and up to Lillian, l. c.) 

Grey. I will go; but first I'll settle accounts with you forever! 
{rushes at Kate with knife when Robert seizes him and gets 
knife ; to R.) 

Robt. Hold, man! Do not add murder to your list of crimes ! 
Are you not aware that officers are even now upon your track? 

Grey. What ! [rushes toward CD.) 

Enter Muggins, Jackson and Bruce — Jackson, pale and hag- 
gard, leans on Bruce for support. 

Robt. [rushing to meet Bruce, shaking hands warmly) Father! 
Ah, this indeed is happiness! 

Bruce. My dear boy ! In the past your father was weak, and 
yielded to temptation. But have no fear for the future. 

Robert, [finger on lip) Bury the past. Live for the future ! 



TRIED AND TXDG, 4I 

Mug. (/# Grey. ) Look here, old stick-in-the-mud, your game is 
up. Them as will dance must pay de fiddler. You've been danc- 
ing de devil's horn-pipe for a long time, and now de ole gent is 
going to pass round de hat, and he won't forgit you — chalk it 
down. (Greythorne motions him to stand aside) What ? 

Grey. Stand aside, {goes toward c. D.) 

Jackson, {very weak) Hold on, Cap ! I'm dying, I am ! I done 
what I could for this man you and I wronged, [meaning Bruce) 
You did your work well ! They said I would not live to get 
here, but I did ! ah ! I'm dying, Cap, but I've strength enough 
left to pull a trigger ! (produces pistol and fires quickly) 

Grey. I'm shot! (falls, and biz, r.) 

Jackson, (very weak) I swore to be even with you for that blow, 
and I've done it! Ah ! (dies) 

Pollux. He's done gone, sab ! (to Robert) 

Robt. Poor fellow, take him away ! (to c.) 

Exit Pollux with Jackson. 

Grey. The game is up! Robert Bruce — ah! here quick! 
(Robert goes to him) Here, take this locket; open — the cover — 
then press your finger on the top — and you will find a paper. 
(Robert has done biz during speech) Read it ! Ah! Curse him, 
he has given me my death blow ! 

Robt. (Kate to R.) Ah ! (reads) " To my dear son Robert ; you, 
being the hope of my life, I bequeath to you a trust on my dying 
bed which you will sacredly fulfil ! I was years ago engaged to 
your father, when one Walter LaFerne, a noted gambler, tried to 
win my affections and make me his wife. I declined his offer and 
married your father, a true and noble gentleman ! When this 
La Feme heard of my marriage, he sought to wreak his vengeance 
upon another, a poor defenceless orphan who had a younger sister 
to care for and protect. He one night sought her at her home and 
abducted her, leaving the other alone and friendless. I adopted 
her ; she whom you have known as Lillian, your sister, is that 
homeless orphan ; her real name is Lillian Hope ! " (Kate utters a 
scream and sinks into chair) 

Robt. Kate ! Speak ! What is it ? 

Kate, (rising) Cannot you see ! He is Walter La Feme. ( points 
to Grey.) and you are my sister ! (Lillian utters a scream; they 
rush together and embrace, R. c.) 

Mug. (l.) Fol de roll — Belinda ! 

Belinda. Mug ! (they embrace) 

Grey. Go on — quick — you have more to read ! 

Robt. Yes, yes. (reads) "Six years after our marrige our little 
Freddie was stolen from us, by whom you can well guess ; search 
was made for him in every direction, but in vain. Robert, my 
son, I enjoin it upon you to hunt this man to the end, that you may 
find your brother. You will know him by a deep red scar just 



42 TRIED AND TRUE. 

below the right elbow. Heaven bless you, my dear son, and fare- 
well till we meet hereafter ! " (Lillian and Kate, clasped in each 
other s a?'ms, weeping) 

Grey. 'Tis true, Robert Bruce. I have been the Nemesis of your 
family — ah ! I — had — your brother stolen by an old witch in the 
lower part of — the city, who soon after — turned him out to starve. 
Robert, your brother stands there, {points to Muggins) 

Mug. (l.) Oh Lord ! {drops into Belinda's arms) 

Belinda, {pulls up his right sleeve) And there's the scar! 

Grey. Ah ! — ugh — Robert — Lillian — Kate — forgive me. 

Robt. {bending over him) Ask forgivness there ; {points up) it 
is to Him you owe it ! 

Grey. Ah! {dies) 

Enter Pollux with officer who hands paper to Robert. 

Robt. (c.) You are too late! Elliot Greythorne is no more ! 
He has gone before a higher judge than you would take him to. 
{points) He has lived a bold bad man, but in his dying moments he 
has in some measure atoned for the past. Take him away ! {officer 
and Pollux bear Greythorne off c. d.) 

Mug. {to R.) Use him gently; he was reared in de lap of lux- 
ury ! Drop him in de ash barrel ! {goes to Bruce) Pop, shake ! 

Robt. (/^Muggins) Brother! {holds out hand) 

Mug. {shaking hands warmly with Robert) Oh, Christmas! 
{takes hand) My head is all in a whirl, {wipes eyes) I shall have 
to get on de outsquirts ob dis house an' have a yell all to myself! 
(to Belinda) I told you I'd make a lady of you ! Hurrah ! 

Belinda, (r., sharply) Muggy! 

Mug. {meekly) Yes dear ! 

Kate, {down L. c.) Robert, allow me to call you so, I know not 
how to thank you for all that you have done ! 

Robt. Then do not try ! There is an old saying that Truth is 
stranger than fiction ; and in our case it has indeed been so, for 
what seemed an affliction has proved a blessing ! 

Lillian, (l. C.) True, Robert ! For through it I have found a 
sister ! 

Belinda. And I my Muggy ! 

Robt. And I a brother, {have curtain ready) 

Mug. Say, Bob, {biz) dat angel over dere is casting sheep's 
eyes at you ! Now de honor of our family demands dat you brace 
up and ax her to marry you — but not now — wait till dis evenin' — let 
her git kinder quieted like, for if she feels anything like I do she 
isn't 'sponsible for what she says. But she won't say " no," don't 
you be afeard ! Den you shall all come here and live with us ; 
and Kate, why she shall take care of the babbies ! 

Belinda. Muggy! 



TRIED AND TRUE. 43 

Mug. Yes dear! Lord, what a family we shall make! Hurrah! 

Bruce. Ah, children, this is happiness indeed ! 

Robt. Yes, we have all found many friends ; but let us not for- 
get our kind friends here. Staunch friends that have seen us 
through all our troubles ; and let us hope that as they have seen 
us tried, they have found us true ! 

TABLEAU. 

Robert. Lillian. 

Muggins. Kate. 

Belinda. Bruce. 

CURTAIN. 



UNCLE TOM'S CABIN (NEW version.) 

A MELODRAMA IN FIVE ACTS, BY CNAS. TOWN SEND 
PRICE, 15 CENTS. 

Seven male, five female characters (some of the characters play two parts). 
Time of playing, 2^ hours. This is a new acting edition of a prime old favorite, 
so simplified in the stage-setting as to be easily represented by dramatic clubs and 
travelling companies wiih limited scenery. Uncle Tom's Cabin is a play that never 
grows old ; being pure and faultless, it commands the praise of the pulpit and sup- 
port of the press, while it enlists the favor of all Christians and heads of familia*. It 
will draw hundreds where other plays draw dozens, and therefore is sure to fill any hal 1 . 

Synopsis of Incidents : Act I.— Scene /.—The Shelby plantation in Kentucky.— 
George and Eliza. — The curse of Slavery. — The resolve. — Off for Canada. — " I won't 
be taken — I'll die first." — Shelby ?nd Haley. — Uncle Tom and Harry must be sold. — 
The poor mother. — "Sell my boy!" — The faithful slave. Scene II. — Gumption 
Cute. — " By Gum • " — Marks, the lawyer. — A mad Yankee. — George in disguise. — A 
friend in need. — The human bloodhounds. — The escape. — " Hooray fer old Var- 
mount ! " 

Act II.— St. Clare's elegant home.— The fretful wife. — The arrival.— Little Eva.— 
Aunt Ophelia and Topsy. — " O, Golly! I'se so wicked!" — St. Clare's opinion. — 
" Benighted innocence." — The stolen gloves. — Topsy in her glory. 

Act III. — The angel child. — Tom and St. Clare. — Topsy's mischief. — Eva's re- 
quest. — The promise. — pathetic scene. — Death of Eva. — St. Clare's grief. — " For thou 
art gone forever." 

Act IV. — The lonely house. — Tom and St. Clare. — Topsy's keepsake. — Deacon 
Perry and Aunt Ophelia. — Cute on deck. — A distant relative. — The hungry visitor. — 
Chuck full of emptiness." — Cute and the Deacon. — A row. — A fight. — Topsy to the 
rescue. — St. Clare wounded. — Death of St. Clare. — "Eva—Eva — I am coming" 

Act V. — Legree's plantation on the Red River. — Home again. — Uncle Tom's 
noble heart. — " My soul ain't yours, Mas'r." — Legree'scruel work. — Legree andCassy. 
— The whiteslave. — A frightened brute. — Legree's fear. — A life of sin. — Marks and 
Cute. — A new scheme. — The dreadful whipping of Uncle Tom. — Legrcc punished at 
last.— Death of Uncle Tom. — Eva in Heaven. 



THE WOVEN WEB. 

A DRAMA IN FOUR ACTS, BY CIIAS. TOWNSEND. 
PRICE, 15 CENTS. 

Seven male, three female characters, viz. : leading and second juvenile men, so- 
ciety villain, walking gentleman, eccenlric comedian, old man, low comedian, leading 
juvenile lady, soubrette and old woman. Time of playing, <z% hours. The Woven Web 
is a flawless drama, pure in thought and action, with excellent characters, and pre- 
senting no difficulties in costumes or scenery. The story is captivating, with a plot 
of the most intense and unflagging interest, rising to a natural climax of wonderful 
power. The wit is bright and sparkling, the action terse, sharp and rapid. In touch- 
ing the great chord of human sympathy, the author has expended that rare skill 
which has given life to every great play known to the stage. This play has been 
produced under the author's management with marked success, and will prove 
an unquestionable attraction wherever presented. 

Synopsis of Incidents: Act I.— Parkhurst & Manning's law office, New York. 
— Tim's opinion. — The young lawyer. — " Majah Billy Toby, sah ! " — Love and law. 
— Bright prospects. — Bertha's misfortune. — A false friend. — The will destroyed. — A 
cunning plot.— Weaving the web. — The unseen witness. — The letter. — Accused.— 
Dishonored. 

Act II. — Winter quarters. — Colonel Hastings and Sergeant Tim.— Moses.— A 
message. — Tim on his dignity. — The arrival. — Playing soldier. — The secret, — The 
promise. — Harry in danger. — Love and duty. — The promise kept. — " Saved, at the 
loss of my own honor ! " 

Act III. — Drawing-room at Falconer's. — Reading the news. — "Apply to Judy !" 
— Louise's romance. — Important news. — Bertha's fears. — Leamington s arrival.— 
Drawing theweb. — Threatened. — Plotting. — Harry and Bertha. — A fiendish lie. — Face 
to face.— 1 ' Do you know him ? " — Denounced. — Your life shall be the penalty ! " — 
Startling tableau. 

Act IV. — At Uncle Toby's. — A wonderful climate. — An impudent rascal. — A bit 
of history.— Woman's wit. — Toby Indignant. — A quarrel. — Uncle Toby's evidence. — 
Leamington's last trump. — Good news. — Checkmated. — The telegram. — Breaking 
the web. — Sunshine at last. 

PV Copies mailed, postpaid^ to any address, on receipt 0/ the annexed prices. m Jglk 



ROORBACH'S AMERICAN EDITION.— Continued. 

25. MURDER WILL OUT. A farce in one act. Six female characters. Time, 
thirty minutes. 

26. APRIL FOOLS. A farce in one act. Three male characters. Time, thirty 
minutes. 

27. OLD CRONIES. A comedietta in one act. Two male characters. Time, 
thirty minutes. 

28. CUT OFF WITH A SHILLING. A comedietta in one act. Two male, one 
fennle characters. Time, forty-five minutes. 

29. A CASE FOR EVICTION. A comedietta in one act. One male, two female 
characters. Time, thirty minutes. 

30. A HAPPY PAIR. A comedietta in one act. One male, one female characters. 

Time, forty-five minutes. 

31. UNCLE'S WILL. A comedietta in one act. Two male, one female charac- 
ters. Time, thirty nrnutes. 

32. POPPING THE QUESTION. A farce in one act. Two male, four female 
characters. Time, forty minutes. 

33. THAT RASCAL PA.T. A farce in one act. Three male, two female charac- 
ters. Time, th'rty minutes. 

34. SOLON SHINGLE. A comedy in two acts. Seven male, two female charac- 
ters. Time, one hour and a half. 

35. NOT SUCH A FOOL AS HE LOOKS. A comedy in three acts. Five 
male, four female characters. Time, two hours and a half. 

36. OUR BOYS. A comedy in three acts. Six male, four female characters. Time, 
two hours. 

37. CASTE. A comedy in three acts. Five male, three female characters. Time, 
two hours and half. 

38. HOME. A comedy in three acts. Four male, three female characters. Time, 
two hours. 

39. MEG'S DIVERSION. A drama in two acts. Five male, three female charac- 
ters. Time, one hour and three quarters. 

40. MIRIAM'S CRIME. A drama in three acts. Five male, three female charac- 
ters. Time, two hours. 

41. BY FORCE OF IMPULSE. A drama in three acts. Nine male, three female 
characters. Time, two hours and a half. 

42. BETWEEN TWO FIRES. A comedy-drama in three acts. Eight male, 
three female characters. Time, two hours and a half. 

43. SAVED FROM THE WRECK. A drama in three acts. Eight male, three 
female characters. Time, two hours and a half. 

44. A LESSON IN ELEGANCE. A comedietta in one act. Four female charac- 
ters. Time, thirty minutes. 

45. WANTED, A CONFIDENTIAL CLERK. A farce in one act. Six 
male characters. Time, thirty minutes. 

46. THE TRIPLE WEDDING. A drama in three acts. Four male, four female 
characters. Time, one hour and a quarter. 

47. SECOND SIGHT; OR, YOUR FORTUNE FOR A DOLLAR. A farce 
in one act. Four male, one female characters. Time, one hour. 

48. UNDER A CLOUD. A comedy-drama in two acts. Five male, two female 
characters. Time, one hour and a half. 

49. STRIFE. A comedy-drama in four acts. Nine male, four female characters. 
Time, two hours and a quarter. 

50. TRIED AND TRUE. A drama in three acts. Eight male, three female char- 
ters. Time, two hours and a quarter. 

51. CRAWFORD'S CLAIM. A drama in prologue and three acts. Nine male, 
three female characters. Time, two hours and a quarter. 

52. TEN NIGHTS IN A BAR ROOM. New Copyright Version. A drama 
in five acts. Seven male, four female characters. Time, two hours. 

E5p"" A ny o/the above will be sent by mail, post-paid, to any address, on receipt 
cf the price. 

HAROLD ROORBACH, Publisher, 9 Murray St., New York. 



TOWNS LIBRftRY 0F CONGRESS 



4 fc 



AMATEUR Tl 

A Practi, al Guide f> 



PRICE, 2£ 




016 103 313 

This work, without a rival in the field ot aramaxic uieraiure, covers cne enure 
ject of amateur acting, and answers the thousand and one questions that arise constantly 
to worry and perplex both actor and manager. It tells how to select plays and what 
plays to select ; how to get up a dramatic club— whom to choose and whom to avoid ; 
how to select characters, showing who should assume particular rdles ; hew to rehearse 
a play properly — including stage business, by-play, voice, gestures, action, etc.; how to 
represent all the passions and emotions, from Love to Hate (this chapter is worth many 
times the price of the book, as the same information cannot be found in any similar 
Avork) ; how to costume modern plays. All is told in such a plain, simple style that 
the veriest tyro can understand. The details are so complete and the descriptions so 
clear that the most inexperienced can follow them readily. The book is full of breezy 
.anecdotes that illustrate different points. But its crowning merit is that it is thoroughly 
practical — it is the result of the author's long experience as an actor and manager. 
Every dnmatic club in the land should possess a copy of this book, and no actor can 
afford to be without it. It contains so much valuable information that even old stagers 
will consult it with advantage. 

HELMER'S 

ACTOR'S MAKE-UP BOOK. 

A Practical and Systematic Guide to the Art of Making tip for the Stage. 

PRICE, 25 CENTS. 

Facial make-up has much to do with an actor's success. This manual is a perfect 
• encyclopedia of a branch of knowledge most essential to all players. It is well written, 
systematic, exhaustive, practical, unique. Professional and amateur actors and act- 
resses alike pronounce it the best make-up book ever published. It is simply indis 
pensable to those who cannot command the services of a perruquier. 

CONTENTS. 

Chapter I. Theatrical Wigs.— The Style and Form of Theatrical Wigs and 
Beards. The Color and Shading of Theatrical Wigs and Beards. Directions for 
Measuring the Head. To put on a Wig properly. 

Chapter II. Theatrical Beards. — How to fashion a Beard out of Crepe Hair. 
How to make Beards of Wool. The growth of Beard simulated. 

Chapter III. The Make-up.— A successful Character Mask, and how to make it. 
Perspiration during performance, how removed. 

Chapter IV. The Make-up Box.— Grease Paints Grease Paints in Sticks ; Flesh 
Cream ; Face Powder ; How to use Face Powder as a Liquid Cream ; The various shades 
of Face Powder. Water Cosmetique. Nose Putty. Court Plaster. Cocoa Butter. 
Crepe Hair and Prepared Wool. Grenadine. Dorin's Rouge. " Old Man's" Rouge. 
"Juvenile" Rouge. Spirit Gum. Email Noir. Bear's Grease. Eyebrow Pencils. 
Artist's Stomps. Powder Puffs. Hare's Feet. Camel's-hair Brushes. 

Chapter V. The Features and their Treatment. — The Eyes : Blindness. The 
Eyelids. The Eyebrows: How to paint out an eyebrow or mustache; How to paste 
on eyebrows ; How to regulate bushy eyebrows. The Eyelashes : To alter the appear- 
ance of the eyes. The Ears. The Nose : A Roman nose ; How to use the nose putty ; 
a pug nose;an African nose ; a large nose apparently reduced in size. The Mouth 
and Lips : a juvenile mouth ; an old mouth ; a sensuous mouth ; a satirical mouth ; a 
one-sided mouth ; a merry mouth ; a sullen mouth. The Teeth. The Neck, Arms, 
Hands and Finger-nails : Finger-nails lengthened. Wrinkles: Friendliness and Sullen- 
ness indicated by wrinkles. Shading. A Starving Character. A Cut in the Face. A 
Thin Face made Fleshy. 

Chapter VI. Typical Character Masks. — The Make-up for Youth : Dimpled 
Cheeks. Manhood.' Middle Age. Making; up as a Drunkard : One method ; another 
method. Old Age. Negroes. Moors. Chinese. King Lear. Shylock. Macbeth. 
Richelieu. Statuary. Clowns. 

Chapter VII. Special Hints to Ladies. — The Make-up. Theatrical Wigs and 
Hair Goods. 

S3F* Copies of the above will be mailed, post-paid, to any address, on receipt of 
the annexed prices. „jg^J 

HAROLD ROORBACH, Publisher, 9 Murray St., New York. 



